Binghamton University Department of Theatre
Faculty/Student Handbook
| Undergraduate
Program: Bachelor of Arts in Theatre Minor in Theatre Arts |
| The
Graduate Program: Master of Arts in Theatre |
| The
Undergraduate Program: Bachelor of Arts in Theatre |
DECLARATION OF MAJOR/MINORThe Theatre Department is part of the Division of Arts and Sciences of Harpur College, and any student admitted to Harpur College by the Admissions Office is eligible to become a theatre major/minor. The department does not participate in the admission procedure. Students are urged to declare their theatre major/minor at an early date, even in the freshman year. This will enable the student to plan carefully his/her course of study. The declaration process is initiated by students through the Office of Academic Advising. When this is done, the student's file is forwarded to the Director of Undergraduate Program in Theatre. The student is then requested, by mail, to make an appointment with the Director to review degree requirements. It is of the utmost importance that students actively and regularly seek feedback from faculty members regarding their performance/production work. Critical input is essential to professional growth. CURRICULUMTheatre Major: Thea 203: Technical Production, 4 Credits Thea 213: Technical Production
Lab, 2 Credits Thea 206: Introduction to World
Dramatic Literature, 4 Credits Thea 304: History of the
Theatre, 4 Credits Thea 309: Performance and Modern
Culture, 4 Credits Thea 207: Actor Training I:
Basic Processes, 4 Credits Additional requirements: Thea 246: Theatrical Makeup Techniques, 4
Credits Thea 340: Scene Design Workshop, 4
Credits Thea 341: Stage Lighting, 4
Credits Thea 342: Costume Design, 4
Credits Thea 343: Costume Technology, 4
Credits Thea 344: Sound Design, 4
Credits The equivalent of 2 and 1/2 4-credit courses in technical theatre practica (10 credits total) is required. Six of the 10 technical credits must be earned by working in the Scene Shop [THEP 270, 370 or 470] and Costume Shop [THEP 273, 373, or 473], with a minimum of two credit hours in each. (Therefore, this requirement can be satisfied by earning three credit hours in each shop or four credits in one and two credits in the other. It is also possible to earn two of the six credits by hanging and focusing lights [THEP 272, 372, or 472]). The remaining four credits may be in any assignment that qualifies for technical practicum. Performance practica are granted for participation in performance assignments. Note: Performance practica are numbered THEP 260-266, THEP 360-366, and THEP 460-466. Technical practica are numbered THEP 270-276, 370-376, and 470-476. Additional Courses by Emphasis Acting/Directing Emphasis students
must take: Dance Emphasis students take: Design/Tech Emphasis students
take: Pass/fail grading option is not acceptable for the 13 departmental courses taken to satisfy the theatre major. (However, the two courses required outside the major may be taken Pass/Fail.) Courses required outside the Department of TheatreThe two courses required outside the Department of Theatre vary by area of emphasis as follows: (These courses may be taken Pass/Fail). Acting/Directing Emphasis Dance Emphasis Design/Technical Emphasis Because of the broad flexibility of advanced course patterns, students are able to choose the theatre subjects which best suit their interests and talents. Various samples of recommended courses are provided to help plan the student's academic career. There are advanced course sequences for performance in acting, dance, and directing. For technical theatre there are courses in scene design and lighting. In addition, there are supplemental courses covering other aspects of the field such as computers, musical theatre, sound, MIDI, costumes, drama, and theatre history. The Department provides the following sequence of courses for each Theatre emphasis and an order in which we suggest they be taken. These recommended sequences are not required, but will help make the most out of one's Theatre Major. Suggested Track with the Acting/Directing Emphasis:Acting Sequence Sophomore Junior Senior Directing Sequence Sophomore Junior Acting (Musical Theatre) Sequence Sophomore Junior Senior
Suggested Track within Design/Tech Emphasis:Design/Tech Sequence Sophomore Junior Senior Suggested Track within Dance Emphasis:Dance Sequence Sophomore Junior Senior Honors Program A logical progression would be to do outstanding work in both semesters of the junior year and first semester of the senior year. During the latter term, the student would be nominated as suggested below, thereby bringing his/her work to the attention of those voting members unaware of his/her accomplishments to date and alerting them to be aware of the student=s endeavors during the upcoming term to in which the deciding vote will be cast. Students may be nominated for honors by individual faculty members or professional staff personnel (it is considered appropriate for students to have sought support and sponsorship from a member of the faculty or professional staff who would then nominate them). The final decision regarding the awarding of honors rests with the entire Theatre Department non-student membership. To receive regular honors, students must have a cumulative GPA in the Theatre major of 3.25. High honors requires a cumulative GPA in the Theatre major of 3.5. Highest honors will be given only to those with a cumulative GPA in the Theatre major of 3.75 or above. Theatre
Minor: THEA 203. Technical Production and
THEA 213. Lab The other three (3) non-practicum courses may be chosen from any non-practicum theatre courses for which the student is eligible.
Pass/Fail grading option is not acceptable for courses taken to satisfy the courses for the theatre major/minor. Each faculty member is assigned to the same discussion section number for Theatre 391, 491, 497, 498, and 499, as well as for all THEP courses. Anne Brady (04), Barbara Wolfe (08), John Vestal (09), Sue Peters (10), Don Boros (11), Tom Kremer (13), Rhae Ann Busch (16), Fred Weiss (17), Don Guido (18), Ted Swetz (24). PRACTICA A student may seek practicum assignments by auditioning for performance, or consulting the production's director for Stage Management or the area head for technical. When a student wishes to sign up for practicum hours after identifying an assignment, the student must go to the appropriate office (costume shop, scene shop, etc.), fill out the appropriate practicum form, get signature from faculty member or instructor, and return the form to the Theatre Office. Once the student has obtained the signature of the faculty member or instructor, he/she should bring the form back to the Secretary in the Theatre Department Office, where it will be forwarded to Barbara Wolfe, Practicum Coordinator and Undergraduate Advisor for Practica, for her approval. Once Barbara has approved and signed the form, it is then returned to the Department Office, where the student is then registered on the computer system for the appropriate THEP course. Three different forms are used, depending upon the type of Practicum requested. THEP 260-265, 360-365, 460-465 PERFORMANCE PRACTICA - Performance for Theatre Department productions. Offerings include acting, dancing, and playing a musical instrument. Performers (actors, dancers, musicians) are required to audition for Main Stage and/or Studio productions. Information about shows and auditions is provided on the Theatre Call Board outside of FA 127. These are variable credit courses dependent upon the amount of time required by the assignment. The number of credits and meeting times are arranged by the instructor. Most performances and rehearsals are in the evening; therefore, evening classes will usually conflict.
THEP 266 & 276, 366 & 376, 466 & 476 STAGE MANAGEMENT PRACTICA - Supervisory work on all performance and technical aspects of a Theatre Department production. The Stage Manager works closely with faculty or student director. Concurrent registration required for 2 credits of technical practica (276, 376, 476) and 2 credits of performance (266, 366, 466). Permission of the Director is required. Most performances and rehearsals are in the evening; therefore, evening classes will usually conflict. Practicum Guidelines: - This chart offers the amounts and types of credit available for given assignments. Variations, including raising these numbers, require explanation by the instructor. Reminders: Certain sections of practica must be taken pass/fail (student-directed studio shows - see attached guidelines), as no student is allowed to grade another student. No course taken for a pass/fail grade option counts toward the major/minor, including practica. All run crew in any capacity, including costumes, scenery, or lights, must be signed up under RUN CREW: 271/371/471, and not under three separate areas. This is true no matter whether the student is signing up under a member of the acting-directing faculty or under the tech/design department. No retroactive credits will be allowed. PRACTICUM IN TEACHING
COLLEGE THEATRE - THEA 391 and 491 INTERNSHIPS -
THEA 495 The following program guidelines have been set up for the Theatre Summer Internship Program. The Department of Theatre participates in the Harpur College Fine Arts Internship Program. The following pertains to the Student Application Procedures:
INDEPENDENT STUDY- THEA 497 An independent project is appropriate for advanced study in a specialization when either the subject matter or the level of achievement is not covered by regular classes. Independent studies are, of course, considered as the equivalent to course work and, therefore, the department exercises stringent control over the granting and supervision of such projects. The procedure for applying for independent study follows.
SENIOR THESIS - THEA 499 The Department of Theatre views the senior thesis as a reward for excellence in the student's area of specialization. Consequently, a candidate is expected to have demonstrated unusual competence in the area selected. Students should discuss thesis possibilities with their advisors. To apply for a thesis, a student must prepare a thesis proposal, the form of which is discussed below. He/she will submit a statement indicating courses and other training which provides an adequate foundation for the thesis request. Areas from which a thesis may be selected include:I. Production Theses 1. Acting II. Scholarly Theses
b. Dramatic Criticism c. Playwriting Thesis proposal guidelines in the areas of acting and dance are listed below. For guidelines pertaining to other areas of specialization, students should consult appropriate faculty members. Acting/Directing Thesis Purpose: to demonstrate in performance the application of training principles and techniques. A major role in a university or other production may serve as a Thesis. Thesis Proposal: The following
information is necessary to cite in formulating a proposal for an
undergraduate thesis in acting: Areas of Theatre and Drama to be
Explored: Performance Format - Expectations: Additional Requirements Relating to
the Student and Program Chosen: Thesis Advisor's Responsibilities
C. Important additional considerations:
2. The thesis advisor will not direct the thesis. The advisor will guide the work and offer suggestions as needed. Purpose: To demonstrate in performance the application of training principles and techniques. Eligibility: Completion or near completion of the Theatre/Dance emphasis. Thesis work should take place during the student's final semester. A student may take courses to complete the major the same semester the thesis is performed. Thesis Proposal: The following information is necessary in formulating a proposal for an undergraduate thesis in dance: Statement of Purpose: Why a Dance
Thesis? Performance Format - Expectations
CLASS ATTENDANCE It is important to be aware that production involvement is not an excuse for not completing assignments on time. Since a number of Theatre courses are not taught from books, and lectures cannot be duplicated, it is essential that students attend all classes, as it is nearly impossible to make up missed material. INCOMPLETES AND TERM
PROJECTS A crowded schedule, employment-related responsibilities, production and/or acting assignments, inadequate planning, etc., are not grounds for an incomplete. These elements should be integrated into an overall timetable for a specific term. This timetable is part of the necessary discipline required in the theatre. Incompletes are frequently associated with term projects or term papers. When a timetable has been prepared for such activities, students are urged to follow it exactly, so as to facilitate orderly research procedures. Projects which come in late (or a day or a few hours before marks are required) are often marred by haste on the part of the student and often receive cursory attention from the instructor because time is not permitted for adequate and thoughtful consideration. GRADES Pass/fail grading is not acceptable for
courses taken to satisfy the 13-course theatre major or 8-course theatre
minor. Also, theatre courses taken pass/fail prior to major declaration
will not count unless the instructor will supply a certification of
acceptable work. Forms will be issued by the departmental secretary to the individual faculty member involved. The faculty member must sign each change of grade form and submit the form in person to the departmental secretary for processing. As indicated in correspondence from the Registrar=s Office, "It is the department's responsibility to insure security of forms issued to the department..." Therefore, the above policy will be strictly enforced, and no exceptions will be granted. GRIEVANCES
(See ARTICLE VI: GRIEVANCE PROCEDURES, page 9 in By-Laws) Students are advised that grading is strictly the prerogative of the individual classroom instructor and cannot be altered by administrative decree. Dissatisfaction over a grade received, therefore, is not grounds for grievance unless unfair bias, unprofessional conduct, or procedural error on the part of the instructor can be established. ANNUAL AWARDS AND
SCHOLARSHIPS The Jack Berman Award: A
$100 cash award. Endowed by Mr. Jack Berman and given for the first time
in 1978, it is awarded to an outstanding third year (junior)
undergraduate student whose record of service and achievement creates an
expectation of significant contributions to the Department and the
University during the student's senior year; may be awarded in either
the performance or production areas. The recipient is selected by the
faculty of the Theatre Department. Theatre Department Award: A $100 cash award. Awarded by the faculty of the Theatre Department to a senior student in recognition of outstanding service and achievement in theatre production as a designer, manager, or technician; normally awarded for cumulative achievement rather than a single project. Don A. Watters Award: A $100 cash award funded by a committee which administers the Don A. Watters Scholarship Fund. Mr. Watters, professor of theatre and chairman of the Division of Humanities, died on October 13, 1968. Awarded by the faculty of the Department of Theatre to a senior student in recognition of outstanding service or achievement in theatre. Normally awarded for cumulative achievement rather than for a single project. Friars Foundation Award: Each year through the generosity of the Friars Foundation of New York and a matching donor, the Department distributes up to $5,000 in scholarship awards to outstanding senior theatre students who, following the Friars' dictates, are considered to have the potential to make significant contributions to the entertainment industry/performing arts, drama, music, and/or theatre design. Selection is made by the Theatre Faculty. The Albert Nocciolino Excellence in Theatre Award: Awarded in recognition of excellence to a senior practicing Theatre Artist during his/her residence with the Theatre Department at Binghamton University. This award is presented with the overwhelming support of the Theatre Faculty. Through the Binghamton University Foundation the Department of Theatre receives several scholarships for qualified individuals. The scholarships are applied to the following year's tuition, therefore, only freshmen, sophomores, and juniors are eligible. The following is a list of scholarships and their descriptions: John E. Bielenberg Theatre
Scholarship: The Solomon Israel Theatre Arts
Scholarship: The Emily A. Nielsen and Orville F.
Nielsen, M.D. Music/Theatre Scholarships: Alexander Rae Baldwin Jr. Memorial
Scholarship: Gruber Family Scholarship: |
| The
Graduate Program: Master of Arts in Theatre |
| PURPOSE The Master of Arts in Theatre exists to provide a broad-based, comprehensive body of knowledge regarding theatre and drama at an advanced level. It is designed to appeal especially to students who wish to teach or to undertake an intensive pedagogical experience en route to the Ph.D. Furthermore, it serves as a practical training ground for students hoping to enter an MFA program or the professional theatre. The program includes a carefully planned combination of theory and practice; however, with attentive counseling, students determine a sub-specialization in history, criticism, or some aspect of performance, technology, or design. DEGREE REQUIREMENTSAdmission Requirements Course Requirements Other Requirements THESIS
Thesis Preparation Guidelines
Thesis Proposal Guidelines1) If the directing option is chosen, the proposal must include a justification of the play choice, a production concept description, a listing of all anticipated production requirements and complications with proposed solutions, and other relevant information as determined by the particular text or approach. Prospective directors must keep in mind that, in some semesters, the Department is short of technical and design students. During those times, thesis productions may be able to receive no more than In-the-Works technical and design support (see pg 65 in AThe Production Program@). This matter must be considered when a script is chosen. Students must also give careful consideration to other practical matters, including the number and type of possible concurrent directing theses. 2) If the acting option is chosen, the student must list plans for at least one program (proposed content, technical requirements, etc.). Note: for both acting and directing options, all proposals must include requests for time and spaceCi.e., when during the semester and which performing venue. 3) If the written thesis option is included, the student must list the kind of research proposed, i.e., its subject and approach. An outline of the expected essay is essential. 4) All other options must be proposed with aspects of planning well delineated, a clear indication of why the student is interested in a subject area, and a detailed account of how the investigative process is expected to relate to the resultant product. 5) Four typewritten copies must be submitted to the Department Secretary. The due date is posted each semester. 6) Prior to submission, the proposal must be carefully and thoroughly reviewed by a faculty member who will also serve as thesis advisor. He or she must sign the original proposal and the signature must appear on all copies submitted. Thesis Writing GuidelinesActing and Dance Thesis The outline suggested for a summary essay for theses in acting and dance documenting and evaluating the production experiences is as follows (see Undergraduate Section of the Handbook for more detailed information regarding Dance Theses):
I. Introduction IV. Rehearsal Procedures V. Discussion of Principles, Problems and Challenges of Creative and Disciplined Application of Training to Thesis Performance VI. Analytical Essay Documenting and Evaluating the Production Experience VII. Summary VIII. Bibliography Appendix A: Rehearsal Log Appendix B: Promotion Record Appendix C: Photographic Record The above must be formally prepared and one copy must be given to the Department as a permanent part of the Theatre Collection. Directing Thesis
II. Rationale for Production Elements
B. Costume Design C. Lighting Design D. Other as Needed
B. Rehearsal Schedule and Scheduling Considerations V. Analytical Essay Documenting and Evaluating the Production Process VI. Description of Personal Growth and Discovery VII. Conclusion VIII. Bibliography Appendix A: Rehearsal Log Appendix B: Copies of Design Plates Appendix C: Copies of Technical Drawings Appendix D: Promotion Record Appendix E: Reviews and Other Post-Production Items Appendix F: Photographic Record The above must be formally prepared and one copy must be given to the Department as a permanent part of the Theatre Collection. Scholarly Thesis ASSISTANTSHIP OPPORTUNITIES (TAs/GAs)Currently (2002-03), the department receives an annual allocation of two (2) lines of support, including tuition and a stipend of $7600 for each line. These lines may be allocated as full-year or single semester appointments and divided amongst TA and GA positions as deemed necessary. The specific duties of assistantships are matched with student interests and abilities when possible. Each student holding an assistantship of any kind is expected to commit to 15 to 20 hours per week toward carrying out departmental duties in order to retain his/her stipend. Students who have received assistantships and who have performed associated duties satisfactorily while maintaining an acceptable GPA receive priority in the allotment of stipends in ensuing semesters. The maximum number of semesters any MA student may receive assistantship support is four (4). In some cases, the amount of each assistantship stipend is set by the Graduate School. In other cases, depending upon the kind of assistantship in question, the amount is determined by the Department's Graduate Committee. Consequently, stipend awards may vary in amount from student to student even within the same category. Teaching Assistantships (TAs) Graduate Assistantships (GAs) Work Study Assistantships STUDENT REPRESENTATIONGraduate Student Organization (GSO) The GSO is composed of the president, vice?president, treasurer, at least one senator from each department or school in which graduate students are registered, one non?voting representative from the graduate residence halls, and one from the International Student Association. GSO Senate meetings are generally held at least once a month, and the agenda is mailed in advanced to all senators. Meetings are open to all graduate students. The Department of Theatre must elect a representative to the University GSO early in the fall semester. Graduate Departmental Representation FACULTY/STAFFAreas of ResponsibilityADMINISTRATIONJohn E. Vestal, Department Chairman FA 123 X-72360 Diana Webb, Secretarial Assistant to Chair FA 127 X-76968 Deborah Mitchell, Marketing and Promotion FA 127 X-77323 Pamela Cahill, Budget and Accounts FA 127 X-76001 UNDERGRADUATE STUDIES GRADUATE STUDIES PRODUCTION PROGRAM OPEN SEASON AND STUDIO THEATRE PROGRAM THEATRE COLLECTION SCENIC DESIGN LIGHTING DESIGN
SOUND DESIGN TECHNICAL DIRECTION CHOREOGRAPHY AND DANCE MUSICAL DIRECTION ACTING/DIRECTING PROGRAM FACILITY SCHEDULING PHOTOGRAPHY
LIBRARIES AND
COLLECTIONS Fine Arts Library Reinhardt Archives Theatre Collection This collection consists of thousands of ephemeral items such as programs, playbills, scrapbooks, photographs, scene designs, microfilm, sound tapes, models, scripts, and books, primarily covering the British and American theatre of the 19th and 20th centuries. Typical of these holdings are:
b) A large number of scrapbooks containing thousands of playbills, programs, and reviews. c) The Peter Wexler Collection containing theatrical materials representing a substantial portion of the early career work of this contemporary American scene designer. d) The acting script collectionCover 600 plays in multiple copies which can be loaned out to all students and faculty for use in department production classes. e) Pictorial souvenirs of London productions from Henry Irving to the present. f) Over 200 original scene and costume designs for New York and London productions of the 20th century. g) Textbooks covering everything from theatre craft to dramatic literature and theatre history. These items are on reserve in the collection, FA 233. FACILITIES 1. In order to use any departmental space (FA 93A, FA 331, FA 333) one must:
2) If the space is available, the staff person will fill out a Space Reservation Form available in the office, making sure all required information is filled in (including student ID number and phone number). Student should not sign up for more time than required or allowed (see audition and rehearsal guidelines, later in handbook). 3) Completed forms are distributed as follows: Yellow is given to the Pass holder, White will be kept in the Space Reservation Office. Student must have the Yellow copy with him/her when using the space, as he/she may be asked to present it to show proof of reservation and to justify the student=s physical presence in building. No departmental space may be used without following the above procedure. 4) Space is generally issued on a first-come, first-served basis. In cases of conflict the established priorities are: mainstage, faculty-directed productions, theses (graduate and undergraduate), studio season productions, in the works, class rehearsals, and all out-of-department requests. 2. Studios A and B (FA 192 and FA 196) - The same procedure as above is followed. However, the Department does not allow other University Organizations to use its Studios for Productions: they may request rehearsal times, but may not use the Studios for actual productions. 3. Dance Studios (FA 104 and FA 91) - Same as above, but students are also required to sign an agreement form which states that they agree to abide by specific rules for the Dance Studios. Since these rooms are kept locked at all times, when a student has authorization to use room after 5:00 p.m., the student must go to the Public Safety Office, present his/her copy of the building pass, leave his/her ID, and pick up a key for the designated room. After the student has finished using the space, he/she must relock the door, return the key to Public Safety, and collect his/her ID. Only the pass holder (person's name and ID on the form) is allowed to pick up the key. Reminder: Space maintenance (cleaning) is the Stage Manager's responsibility. (See Stage Manager Guidelines.) Building PassesThe Fine Arts Building is normally open between 7 a.m. and 11 p.m. Students who wish to remain in the building after 11 p.m. to work on class projects must obtain a building pass, except while working with a faculty member. The forms are available in the theatre office. The student should fill out the form completely, including ID #, and present it to Diana Webb, the designated departmental space administrator. The student must keep one copy of the form; a second copy is forwarded to Security, and a third is kept on file in the Theatre Office. Students may be asked by Security to show their building passes.
2. ALL Faculty and Staff members have individual copying codes. They should do their own copying whenever possible. Should they need the office staff to copy, they should fill out a blue copying form, attach it to the materials they need copied, and place it in the office assistant box located on the corner of the desk in FA 127. Turn-around time is normally half a day, but more time should be allowed, of course, for large jobs. Please plan accordingly - do not expect someone to jump up and do it immediately! 3. If a student needs a photocopy of an item from the collection that cannot leave the building, the person in charge of the collection office will make the copy, usually within a 24-hour period. 4. Copying of scripts, rehearsal schedules, or other materials for Studio and Major Seasons will be charged to specific productions and will be paid out of budget allocations for those productions. Both for financial reasons and in consideration of copyright laws, multiple copies of scripts which are available for purchase will not be authorized. 5. Copying of scripts for acting and directing class scenes or other classroom projects will not be authorized. Students wishing to copy materials for classroom assignments will be directed to utilize the coin-operated copy machines in the Library. PHOTOGRAPHYProduction photography: Chris Focht, the department's photographer, takes publicity and production shots for all Major Season shows. Student copies of production photographs, copies of black and white publicity photographs, and color slides of theatre productions may be obtained (for a fee) by contacting Mr. Focht directly and making the arrangements. Contact print catalogues of all photographs taken are maintained by Mr. Focht and filed in his office. Portfolio photography: Mr. Focht's combined workload for the Departments of Theatre, Art, and Art History makes it impossible for him to respond to requests for individual portfolio photography for students in any of these departments. PETTY CASH Petty cash is used as a limited source of funds available to individuals for reimbursement or cash advances. Policy for Petty Cash is:
2. Mark on the receipt the Mainstage or Studio Show to which it should be charged. 3. Student reimbursement takes priority over reimbursement to Faculty/Staff. 4. Should it become necessary, Faculty/Staff will be reimbursed by check through the Business Office, with a 2-3-week turnaround time. 5. Sales tax is not reimbursable. Policy for Cash Advances is:
2. Return sales receipts to Accounts and Budget Specialist with any unused cash. If the student or Faculty/Staff member has spent more than the amount advanced, he/she will be reimbursed when the receipts are turned in. 3. Student or Faculty/Staff will receive a tax-exempt form from the Account and Budget Specialist. If tax is paid, it will not be reimbursed. JOB/SCHOOL NOTICESNotices of job openings are posted on the bulletin board in the Theatre Department office, FA 127. Brochures for graduate schools are posted outside the Department office when received. Brochures for summer schools and summer theatres/internships are posted on the board to the left of FA 127, as they are received. |