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Global Learning Initiatives

Curriculum Integration Department of Theatre

Ben Alexander and Patrick Battles

7/29/2010

This document is meant to illuminate how the Department of Theatre will integrate the Global

Learning Initiatives into existing curriculum, and some cases course work that is still under

development.


Dept. of Theatre

Table of Contents

Foreword ....................................................................................................................................................... 4

Grant Application Letter ............................................................................................................................... 5

Outline for Curriculum Implementation Strategy ......................................................................................... 7

Condensed Outline ........................................................................................................................................ 8

Learning outcomes for the Theatre Department Program ........................................................................... 11

Desired Results ....................................................................................................................................... 11

Learning Outcome for Global Engagement ............................................................................................ 11

Learning Outcome for Diversity ............................................................................................................. 11

Learning Outcome for Environmental Sustainability ............................................................................. 11

We expect a graduating student from the Theatre Department to Understand: ...................................... 12

We expect a graduating student from the Theatre Department to Know: ............................................... 12

We expect a graduating student from the Theatre Department to have the Ability: ............................... 13

We expect a graduating student from the Theatre Department to have the Disposition: ........................ 13

Assessment Evidence .............................................................................................................................. 13

Performance Tasks .................................................................................................................................. 14

Learning Plan .......................................................................................................................................... 15

Learning Activities .................................................................................................................................. 15

Courses with Possibilities ........................................................................................................................... 16

Course Analysis .......................................................................................................................................... 22

Course Analysis Template ...................................................................................................................... 22

Course Analysis – TH 113 – Production Workshop ............................................................................... 23

Course Analysis – TH 122 – Intro to Lighting and Sound Technology ................................................. 24

Course Analysis – TH 123 – Stagecraft .................................................................................................. 25

Course Analysis – TH 133 – Stage Make-up .......................................................................................... 26

Course Analysis – TH 202 – Costume Design ....................................................................................... 27

Course Analysis – TH 204 – Basic Scene Design .................................................................................. 28

Course Analysis – TH 235 – Acting II ................................................................................................... 30

Course Analysis – TH 263 – Lighting Design ........................................................................................ 31

Course Analysis – TH 331 – Theatre History I & TH 341W Theatre History II .................................... 32

Course Analysis – TH 352 – Directing 1 ................................................................................................ 34

Course Analysis – TH 363 – Stage Management ................................................................................... 36


Dept. of Theatre

Course Analysis – TH 490 – Senior Capstone ........................................................................................ 37

Reference Materials .................................................................................................................................... 38

CIE Study abroad programs .................................................................................................................... 38

Liberal Studies Course List ...................................................................................................................... 39

Senior Project Rubrics ............................................................................................................................. 52

Senior Project Rubric........................................................................................................................... 52

Senior Project Advisor Rubric ............................................................................................................. 53

Senior Capstone Defense Rubric ......................................................................................................... 55

Web sources............................................................................................................................................ 56


Dept. of Theatre

Foreword After review by the Faculty of the Department of Theatre this proposal has been deemed

worthy for review by the Global Taskforce. The Faculty has included numerous responses to

how the Global Learning Initiatives can be infused or reinforced in the curriculum of the

department. We continue to look for new and innovative ways for our students to experience the

world of theatre on a global level. There are still decisions being made concerning the best

semester that a student could travel abroad. Due to curricular streamlining and funding issues the

department already works on a very tight rotation of classes. We continue to look for solutions to

this problem. The CIE has provided the Department with a list of institutions abroad that may be

suitable for a theatre student to attend. This list is currently a review.

We have also done a great deal of work into how we can assess the student‟s progress

through the department in relation to the GLI. We have modified the grading rubric that is used

for the Senior Capstone project review to include references to the student‟s personal growth and

progress with the initiatives in mind. All theatre students undergo a sophomore review. We have

started to include an assessment at that time to help the student better understand and achieve

personal as well as departmental goals. We continue to work on being able to adequately assess

each course from the instructor and student point of view. This will be an ongoing area of

research and development.

We have also taken steps forward in the integration of how the students are advised in the

area of Liberal Studies. The faculty considers a great deal of this advisement to be based on the

student‟s personal interests and goals for the time following their careers at NAU. We will

continue to consider and advise students based on course content and developments and changes

in the Liberal Studies areas.

The Department of Theatre faculty is deeply dedicated to the understanding of Diversity,

Global citizenship and how to maintain and promote the environment and the cultures around us.

We believe that the infusion of these goals into the curriculum cannot be a onetime event but

must be maintained and cultivated. To this end, we believe that all areas of development and

change will continue to be refined. It may be difficult to see quick changes, but we believe that in

the long term the university will be able to see how the Global Learning Initiatives are

influencing the curriculum, and how the students perceive the information and experiences being

offered.


Dept. of Theatre

Grant Application Letter

This letter is meant as an application for consideration of research funding for the

Department of Theatre under the proposals for Global Learning Recommendations.

Theatre has a long standing tradition of trying to make humanity aware of itself,

especially to those outside of any one cultural situation. We strive to reveal all aspects of the

human condition. Theatre has been used as a communication and learning tool; a weapon against

tyranny and injustice; an outlet for joy, despair, and all things human. It must be understood that

this is not just the performance aspect of the Theatre, but also the creation of Theatre by many

hands and heads, a true collaborative art form.

In an effort to make sure that our students have a complete understanding of one of the

world‟s oldest global traditions, we would ask for support in ensuring that our curriculum is

indeed aspiring to and maintaining the highest standards of a globally aware student. We would

like to search out and discover new ways to make this art viable in relation to the University‟s

definition of that student.

Global Engagement

Under this heading, the Department of Theatre can aid students by making sure that our

existing course work has definite applications towards helping them understand what it means to

be a human alive in this time. This is applied throughout the theatre curriculum but it is our plan

to strengthen these specific initiatives. Global engagement can be reinforced in our basic Acting

course. Helping to understand human intention and want can better aid a person in seeing other

points of view. It will be defined in our Theatre History courses. By understanding where we

have come from and applying lessons learned from our predecessors, we can actively participate

in change of the current time. An example of this could include study on The Plowshares Theatre

Company. A production company specifically devoted to raising awareness and preserving

African Americans history and culture. It could be further developed in our Technical design

courses where student designers are required to understand many cultural influences to produce a

director‟s vision.

Environmental Sustainability

In this category an entire new field of theatre is being developed. Commonly called

„Green Theatre‟, this field is dedicated to finding new and better ways to produce theatre and the

equipment required to engage in live theatre. From designing from the ground up, lighting

instruments that are made from 100% recycled materials, to utilizing the burgeoning field of

LED lighting, to a simple practice of frugality in design and construction. The Technical Theatre

courses provide an excellent way to help our students see that there may be a more sustainable

way to produce theatre, as well as introduce them to a growing industry standard. Additionally,


Dept. of Theatre

investigation and problem solving toward better ways to store technical items so as to reuse them

for another production is a major part of the study. Scenery and costumes do not have a single

production life, but they must have adequate storage facilities to be able to be reused, and the

study of ways to secure and store properly is a major area in need of development and funding.

Diversity

Every culture in the world has some form of theatre. Whether it is dance, historical

recitation, religious presentation, or musical performance, all of these can be included in the

definition of theatre. By helping our students to see that there are many ways to achieve theatre,

we can expose them to, literally, all cultures sharing this planet. By understanding a different

culture‟s performance perspective, one can begin to gain insight into how cultures cross one into

the other. In fact, one may be able to see their stance in the larger world culture of humanity.

This could be very prevalent in our Modern Drama course that incorporates text that deals with

the diversity of humanity. For example, the roles of women and men in modern society, the

movement for gay and lesbian rights, and the crossing of cultural boundaries. The Department

does have an Asian Theatre course, but due to funding and faculty loads it has not been taught in

several years. If this course could be returned to active status, it could be an excellent way to

incorporate cross curriculum instruction and extend our students understanding of visiting

international students.

In closing, we believe that the Department of Theatre intrinsically embraces the Global

Initiatives program, but we have work to do in creating an environment where students can

explore a deeper, richer understanding, an understanding of the Global Learning initiatives.

There is room in our curriculum to bring to the forefront the global initiatives that are so

important in our modern educational environment. Theatre can be an excellent advocate for

experimentation and development in teaching techniques. During this investigation in curricular

development, ideas and theories may become evident that could aid other programs in the

university system with integration of the global initiatives into academic programs.

Ben Alexander – Instructor

Patrick Battles – Associate Professor

Kathleen McGeever - Chair


Dept. of Theatre

Outline for Curriculum Implementation Strategy

1. Research and Development of Learning Outcomes – Added from GLR Workshop

a. Student polling

b. Development of Expected Leaning Outcomes

2. Analysis of course content – 6-30-10

a. What courses are being offered in the 2010-2011 academic year? – 6-15-10

i. What courses already offer GLR content?

1. How is this content specific to GLR guidelines?

ii. What courses can develop a deeper commitment to GLR guidelines?

1. What kind of content can be integrated into these courses?

b. What courses are not offered in this academic year? – 6-30-10

i. What courses already offer GLR content?

1. How is this content specific to GLR guidelines?

ii. What courses can develop a deeper commitment to GLR guidelines?

1. What kind of content can be integrated into these courses?

3. Implementation Strategy – 7-30-10

a. Quantify how course topics are applicable to GLR guidelines. – 7-15-10

b. Develop Assessment document that can be used at the beginning of the course to

ask students what expectations they have of the course in reference to the GLR

guidelines. – 7-20-10

c. Develop Assessment document that can be used at the end of the course to ask

students if the course achieved the goals set forth in reference to the GLR

guidelines. – 7-30-10

d. Evaluation of Faculty and Student responses to course content and goal

achievement. - Continuing

e. Adapt and change course content in response to evaluation. - Continuing

4. Documentation of Implementation – 8-15-10

a. Send Copy to Steering committee – 8-10-10

b. Develop documentation of the implementation process. – 8-10-10

i. Did the course content respond to GLR Guidelines? - Continuing

1. If so, how?

2. If not, why?

a. What changes can be made in incorporate GLR content?

c. Develop presentation of all documentation that could be used by other academic

units as an example of implementation strategy. – 8-15-10


Dept. of Theatre

Condensed Outline 1. Learning Outcomes – The Theatre student will understand the relationship between and

interconnectedness of Diversity, Global Awareness, and Sustainability thru the

“academic” study of theatre and the “hands-on” practical application of theatre as an art

form.

a. To be a sensitive collaborator while conducting research, analysis, and

presentation and successful articulation of their ideas and to successfully

incorporate this into a concept that will produce a realized theatrical production.

b. Students will demonstrate cultural understanding and sensitivity thru the

integration of multiple thematic ideas (concepts) and art forms (painting,

sculpture, literature, etc.) from diverse sources and cultures.

c. Create new methods for the theatre to be used as a tool for social changes and

actively raise social awareness.

d. To understand and develop sustainable business practices.

e. To think critically and be a problem solver.

2. Strategies to achieve outcomes

a. To elaborate the Theatre Department philosophy is that our student learning is

strengthened through a layered two part process: the use of standard academic

methods and by active emersion into the theatre production process. This two part

process allows the information presented in the classroom setting to actively take

root as the student applies what they have learned in a “real” context. The student

becomes a theater practitioner by being a theater practitioner.

b. Our academic program is set up to establish a foundation of knowledge and then

build upon it as the student continues through it. All theatre majors are required

to take the same foundational courses regardless of their desired emphasis. For

example all majors should take TH 130 Script Analysis in their freshman year

with the understanding that the skills acquired in this course (analysis, research,

writing, and presentation of ideas) are applicable to Theatre History, Acting, and

all of the Design courses as well as the hands on process of performance and

design which includes research after the analysis and the presentation/articulation

of ideas.

c. As the student meets certain requirements they are allowed and encouraged to

take on the tasks and responsibilities associated with what they have learned in

the classroom.

d. Academic performance is a qualifier for the student being assigned a more hands-

on assignment and the student works with an advisor to complete any assignment

they are given. The advisor then provides input on the performance of the

assignment determining if the student successfully demonstrated the knowledge

required in the assignment area and their readiness for a future assignment

3. Additional Strategies to achieve learning outcomes

a. Courses – The Theatre Dept. has a tradition of Special topics courses (TH 440)

that vary instructor and topic to enhance the student experience by placing them

in a very specific and rigorous academic and hands on situation. For example,

Mask Making was an essential TH 440 course in the Sp 2008- The students

researched the process of constructing and then created masks in three different


Dept. of Theatre

materials, competing to have their masks selected to be on stage for the

departmental performance of Rosencrantz and Guildenstern are Dead and The

Miser.

b. Co-curricular activities – The Theatre Dept. is structurally co-curricular. The use

of academic classes and practicum components to reinforce the class work

coupled with the application of what has been learned to create the departmental

theatre productions is co-curricular by nature. The student receives credit for their

participation in the TH 113 Practicum course to facilitate the co-curricular

experience of a departmental theatre production.

c. Extra-curricular activities – The students are encouraged to participate in theatre

related clubs associated with the department. United States Institute of Theatre

Technology (USITT) students are encouraged to attend the national conference

and network there, Educational Theatre Company (ETC), Naughty Bits (an

improvisation acting club), Alpha Psi Omega an academic theatre society, and

Arizona Play Makers.

d. Liberal Studies courses – At this time there are no departmentally required Liberal

Studies courses for all theatre majors. We currently view this as a matter between

the student and their advisor. There are simply too many applicable Liberal

Studies courses available and we believe that through proper advisement we can

select the courses that will enhance the particular students experience most

effectively.

e. Study abroad requirement – We as a department encourage our students to study

abroad but have at this time not established a formal requirement. Our plan of

study fits most easily with the student selecting a semester abroad that fulfills

elective and liberal studies requirements without the difficulty of assessing major

requirements upon the students return. We are discussing the possibility of some

formal exchange program (like the current Sienna program) that would alleviate

this problem.

4. Assessment of outcomes

a. Current

i. Sophomore Review – Determines if the student is progressing adequately

and is ready to be classified as a Performance or Design Technology

emphasis within the major. This designation places certain guidelines and

expectations on the student as they continue in the major.

ii. TH 490C Senior Capstone – The Senior Project is a culmination of the

knowledge and practical experience a student has gained during their time

in the major. The project is an open project that is determined by the

student with faculty approval and is advisor supervised. This project is

reviewed by the faculty as a whole and graded through a rubric. The

student will also formally defend their project at the end of the Th490C

class having the entire faculty grade the defense through a rubric. These

rubrics include questions relating to the students work in the areas of

diversity, global awareness, and sustainability.

b. Developing


Dept. of Theatre

i. Course Specific evaluation – As part of the partial re-conception of some

of the courses involved with Global Learning, it is expected that an

assessment specific to the course topic will need to be created.

ii. Incoming Freshmen/Outgoing Seniors – We believe that this curriculum

strategy must have a long term assessment in place for true results to be

seen. To that end we would like to develop a questionnaire, which we can

give to incoming freshmen to create a base standard of existing

knowledge. This questionnaire could then be given to the same class as

they are graduating, so that an accurate assessment of gained knowledge

can be measured.


Dept. of Theatre

Learning outcomes for the Theatre Department Program

Desired Results

The Theatre student will understand the relationship between and interconnectedness of

Diversity, Global Awareness, and Sustainability thru the “academic” study of theatre and the

“hands-on” practical application of theatre as an art form.

Learning Outcome for Global Engagement

Global Engagement: Students will learn how to analyze, synthesize, and evaluate the

interconnectedness and interdependence of the human experience on a global scale.

We expect a graduating student from the Theatre Department to understand the intra-

cultural connection of all theatrical forms globally and they’re own place in the global

world of theatre.

Learning Outcome for Diversity

Diversity: Students will learn about and critically reflect upon the nature and consequences of

diversity in both the social (e.g. ethnic, religious, cultural) world and the natural environment,

and develop an understanding of how this diversity both alters and is altered in a world

characterized by increasing global interaction.

We expect a graduating student from the Theatre Department to understand that to be a

theatre practitioner as well as a participating member of society, one must think critically.

Learning Outcome for Environmental Sustainability

Environmental Sustainability: Students will acquire the skills and knowledge base to understand

the importance of and options for environmental sustainability in local and global terms.

Students will also acquire an understanding of the range of ethical perspectives concerning the

uses of natural resources and the impact of these perspectives on creating a sustainable

relationship to the natural environment.

We expect a graduating student from the Theatre Department to understand the need for

theatre practitioners with a sustainable consciousness relating to “Environmental” business

practices, and the sustainability of a cultural practice.


Dept. of Theatre

We expect a graduating student from the Theatre Department to Understand:

A. The use of emotional empathy and collaboration (both skills which require global

awareness and an understanding of diversity) as essential tools for the analysis of a script

and for the overall creation and production of theatre (these skills are required for all

areas; acting, directing, designing, etc.).

B. Theatre is used as a tool for social change and can actively raise social awareness of

Diversity, Global Awareness, and Sustainability; this includes understanding the power

of and skilled use of language.

C. The process of research, analysis, and presentation/articulation of a broad range of

subjects that are required to realize a theatrical production.

D. The standard (most common) business models and performance practices involved in the

creation and production of theatre. This includes the understanding that all problems have

multiple solutions and that they are “problem solvers”.

We expect a graduating student from the Theatre Department to Know:

A. How they fit into the global community and how all theatrical forms are interrelated

historically.

B. How to work professionally in a collaborative environment including the successful

research, analysis, and presentation/articulation of diverse subjects incorporating them

into a collaborative concept.

C. Historically how theatre has been used as a tool for social change and actively raised

social awareness.

D. How to develop sustainable business practices.

E. How to think critically and that they can approach and solve a problem.


Dept. of Theatre

We expect a graduating student from the Theatre Department to have the

Ability:

A. To be a sensitive collaborator while conducting research, analysis, and presentation and

successful articulation of their ideas and to successfully incorporate this into a concept

that will produce a realized theatrical production.

B. Students will demonstrate cultural understanding and sensitivity thru the integration of

multiple thematic ideas (concepts) and art forms (painting, sculpture, literature, etc.) from

diverse sources and cultures.

C. To think critically and create new methods for the theatre to be used as a tool for social

changes and actively raise social awareness.

D. To understand and develop sustainable business practices.

E. To think critically and be a problem solver.

We expect a graduating student from the Theatre Department to have the

Disposition:

A. The desire to use the skills they have acquired in any way possible to be a responsible,

creative, and positive member of the community local or global.

B. To approach any problem that might arise as a positive situation with a solution.

C. To approach old and new ideas openly and view critical thinking as a social imperative to

being a productive member of the community.

D. To be open to new experiences with the understanding that learning is a lifelong process.

Assessment Evidence

Currently we have two formally established tools for assessing our student progress through their

years in the department. First is the Sophomore Review which determines if the student is

progressing adequately and is ready to be classified as a Performance or Design Technology

emphasis within the major. This designation places certain guidelines and expectations on the

student as they continue in the major. Second is the TH 490C Senior Capstone class which has

an attached Senior Project. The Senior Project is a culmination of the knowledge and practical

experience a student has gained during their time in the major. The project is an open project that


Dept. of Theatre

is determined by the student with faculty approval and is advisor supervised. This project is

reviewed by the faculty as a whole and graded through a rubric. The student will also formally

defend their project at the end of the Th490C class having the entire faculty grade the defense

through a rubric. These rubrics include questions relating to the students work in the areas of

diversity, global awareness, and sustainability.

Performance Tasks

Over all we expect our students to demonstrate their competencies in an active manner through

our programs integration of academic “paper” projects and “hands on” learning. The student will

experience the practice of theater in a multifaceted and diverse manner allowing them to

demonstrate their understanding of the interdependence of humanity thru traditional academic

methods; tests, papers and projects, in the classroom coupled with labs and the participation in

fully realized theatre productions thru the department.

Our students have the opportunity to work in any performance, production and design area as

they grow/mature in their skills and confidence. This provides them with firsthand experience

that they can utilize as they go into the world.

To elaborate the Theatre Department philosophy is that our student learning is strengthened

through a layered two part process: the use of standard academic methods and by active

emersion into the theatre production process. This two part process allows the information

presented in the classroom setting to actively take root as the student applies what they have

learned in a “real” context. The student becomes a theater practitioner by being a theater

practitioner.

Our academic program is set up to establish a foundation of knowledge and then build upon it as

the student continues through it. All theatre majors are required to take the same foundational

courses regardless of their desired emphasis. For example all majors should take TH 130 Script

Analysis in their freshman year with the understanding that the skills acquired in this course

(analysis, research, writing, and presentation of ideas) are applicable to Theatre History, Acting,

and all of the Design courses as well as the hands on process of performance and design which

includes research after the analysis and the presentation/articulation of ideas.

The students will also take courses that introduce them to the common/standard construction

methods involved in the production of theatre; TH 122 Lighting and sound Technology, TH 123

Stagecraft, and TH 124 Costume Construction. These courses approach their topics in the

classroom using lectures, tests, and projects (often requiring analysis, research, and problem

solving) to assess student progress. These classes require the student to register for a

corresponding TH 113 Production Workshop that is a hands-on lab component which applies

what they are learning is the class to a real theatre production.

As the student meets certain requirements they are allowed and encouraged to take on the tasks

and responsibilities associated with what they have learned in the classroom. For example, upon


Dept. of Theatre

completion of TH 363 Stage Management a student may elect with faculty approval to be an

Assistant Stage Manager for a production and upon successful performance and evaluation of

this task become the Stage Manager for a future production.

Students are also required to audition for the department productions each semester to encourage

their growth in auditioning skills and confidence. As a result they may also be cast in one of the

departmental productions and have the opportunity to perform for an audience.

Academic performance is a qualifier for the student being assigned a more hands-on assignment

and the student works with an advisor to complete any assignment they are given. The advisor

then provides input on the performance of the assignment determining if the student successfully

demonstrated the knowledge required in the assignment area and their readiness for a future

assignment.

Learning Plan

The learning plan for the Theatre Department is activity tied to the program structure and

philosophy; in turn the learning plan and assessment of the student are inclusive. The student

learns and then applies their knowledge in a hands-on process which provides active evidence for

assessment of student progress and development. This information is then used to assist in the

determination of the program‟s success or failure in accomplishing the learning outcomes as

stated above.

Learning Activities

The learning activities for the Theatre department are stated in and tied to the Assessment

Evidence and Performance Tasks section of this document.


Dept. of Theatre

Courses with Possibilities

Dept Class

#

ID# Description Course

Description

Instructors Notes

TH 101 8272 INTRODUCTION

TO THE

THEATRE

Principles and

elements of

theatre and

drama.

Winterhalter-

Lofstrand

TH 112 8274 PERFORMANCE

WORKSHOP

Rehearsal and

performance in

NAU theatre

productions.

Groves,

Yowell,

McGeever

TH 113 8275 PRODUCTION

WORKSHOP

Practical work

in various

phases of

theatre for

NAU theatre

productions:

sets, costumes,

lights, props,

makeup, sound,

and publicity.

Battles, Ellis,

Alexander,

Parr, Grohs,

Yowell,

Groves

TH 122 9932 LIGHTING &

SOUND

TECHNOLOGY

Study of the

techniques and

processes used

in lighting and

sound

technology.

Alexander

TH 123 8276 STAGECRAFT Practical

application of

the techniques

used in modern

technical

theatre

production.

Battles,

Grohs

TH 124 8288 COSTUME

CONSTRUCTION

Techniques and

processes used

in the

construction of

costumes for

the stage.

Parr,

Peterson


Dept. of Theatre

TH 125 8279 INTRODUCTION

TO ACTING

Practice of

acting theories

through in-

class

performance.

History and

theory of

acting from

sixth century

B.C. to the

present. May

not be taken by

theatre majors.

TH 130 8277 SCRIPT

ANALYSIS

Intensive study

of how to

research and

analyze a play

script. Studies

play analysis

theory from

Aristotle to

present day.

Winterhalter-

Lofstrand

TH 135 8290 ACTING I Basic

techniques and

theories of

acting;

development of

actor's self-

awareness;

presentation of

dramatic

materials.

Winterhalter-

Lofstrand

TH 202 9935 BASIC

COSTUME

DESIGN

Theory and

practice of

designing

costumes for

the stage

Ellis


Dept. of Theatre

TH 203 8284 DESIGN AND

PERIOD STYLE

Overview of

design and

period style as

it relates to

contemporary

design for

theatre with

emphasis on

collaboration

between

directors and

designers in

production, and

on developing

historical

research skills.

TH 204 8294 BASIC SCENE

DESIGN

Theory and

practice of

designing

scenery for the

stage.

Battles

TH 235 8304 ACTING II Practice of

basic

techniques in

scenes from

realistic

dramatic

literature

emphasizing

individual and

ensemble

performance.

Yowell

TH 263 8292 LIGHTING

DESIGN

Theory and

practice of

stage lighting

technology as

it relates to

design.

Alexander


Dept. of Theatre

TH 321 8300 THEATRE

MANAGEMENT

Managerial

aspects of

theatre

pertaining to

personnel,

publicity,

finances, and

scheduling

seasons of

plays.

Groves

TH 331 8303 HISTORY OF

THE THEATRE I

Theory and

development of

theatre and

drama from

dawn of

civilization to

1650.

Groves

TH 341W 8314 HISTORY OF

THE THEATRE II

Theory and

development of

theatre and

drama from

1650 to 1945.

This course

fulfills NAU's

junior-level

writing

requirement.

Groves

TH 363 8322 STAGE

MANAGEMENT

Theory and

practice of

stage

management

with emphasis

on the

production

process.

Alexander

TH 399 8326 ASIAN

THEATRE

In-depth study

of an aspect,

concept, or

problem within

a program of


Dept. of Theatre

study.

TH 404 9937 PRODUCTION

TEAM SEMINAR

Practice in

theatre design

and technology

with emphasis

on production

collaboration

and portfolio

building.

Battles, Ellis,

Alexander

TH 432 8334 ACTING III Study and

practice of

period styles of

acting.

TH 451 8342 MODERN

THEATRE

Theory and

development of

theatre and

drama from

1945 to

present.

Ellis

TH 462 8346 PLAYWRITING Theory and

practice in the

writing of

plays.

TH 472 8347 ACTING IV Synthesizes

internal process

and external

technique.

TH 490C 8351 SENIOR

CAPSTONE

EXPERIENCE

Seminar for

seniors

including

career

workshops and

senior projects

culminating in

an

retrospective

oral

presentation or

portfolio

Battles


Dept. of Theatre

review.

Projects may

include

performance,

directing,

design,

research, and

creative

writing.


Dept. of Theatre

Course Analysis

Course Analysis Template

Course Course # Course Description Enrolment Cap

Instructor:

Please give a response to each of the bullet points below describing how the course is integrating

the Global Learning Recommendations. If the course does address the recommendations please

give a few moments of thought to how it may respond to the recommendation. Please make a

copy for each class that will be taught in the 2010-2011 academic year.



Environmental Sustainability: Students will acquire the skills and knowledge base to

understand the importance of and options for environmental sustainability in local and

global terms. Students will also acquire an understanding of the range of ethical

perspectives concerning the uses of natural resources and the impact of these perspectives

on creating a sustainable relationship to the natural environment.

Diversity: Students will learn about and critically reflect upon the nature and

consequences of diversity in both the social (e.g. ethnic, religious, cultural) world and the

natural environment, and develop an understanding of how this diversity both alters and

is altered in a world characterized by increasing global interaction.

For more information please follow this link:

http://international.nau.edu/pdf/global_learning_legislation.pdf

http://international.nau.edu/pdf/global_learning_legislation.pdf


Dept. of Theatre

Course Analysis – TH 113 – Production Workshop


TH 113 Production Workshop ??

Instructor: Battles, Ellis, Alexander, Parr, Grohs, Yowell, Groves







This course is the synthesis of theory and practice. Topics discussed in course work are put in

action during the creation of theatre production. This course is essential to helping students

understand that the act of Theatre is alive and requires skill, knowledge and forethought.

Courses that can be related to this course: TH 122 – Intro To Lighting & Sound, TH 123 –

Stagecraft, TH 124 – Costume Construction, TH 363 – Stage Management, etc.





















Dept. of Theatre

Course Analysis – TH 122 – Intro to Lighting and Sound Technology


TH 122 Intro to Lighting & Sound Technology 20

Instructor: Ben Alexander







TH 122 already has some components of this. For example: Study of color meaning and relation

to cultural meaning. I think that I could go further in understanding the global impact of

entertainment technology by devoting class time to origins of new technology occurring all over

the globe. Also, integrating examples of theatre in a multitude of cultures through the medium of

entertainment technology.






I have already been integrating the idea of „Green Theatre‟ into the curriculum. By having

discussions directly related to how technology impacts the environment and how we can achieve

a beautiful design under the jurisdiction of frugality. This idea speaks not only to utilizing

equipment that is environmentally friendly but also the impact that the technology has a global

scale i.e. how is equipment manufactured? What is the company‟s impact both in the US and

abroad?





This topic is more difficult to integrate into the curriculum because of the introductory nature of the

course in relation to technology. I do have a small section of the course that introduces the concept of

design and how a designer can gain insight into a play no matter the origin of the text. Perhaps by helping

the student better understand their own opinions about a specific topic they can extrapolate that into an

understanding of all human nature.


Dept. of Theatre

Course Analysis – TH 123 – Stagecraft


TH 123 Stagecraft 16-20

Instructor: Battles, Alexander, Grohs







Stagecraft deals primarily with scenery and the typical methods for its construction, any “Global

Engagement” will be indirect and not easily combined with the primary academic goal of the

class.

“Global Engagement” can be more readily addressed in the TH 113 practicum class which a

student will be taking in conjunction with stagecraft. As we are working on a fully realized

production the methods for construction may vary widely: in materials used, cultural style and

origin, method of construction, from the standard models presented in the stagecraft class.






Stagecraft can and will continue to deal with topics relating to “Environmental Sustainability”.

We discuss materials and their proper uses, safety, recycling of and use of recycled materials,

“stock” scenery that can be used repeatedly all with an eye toward budget and the environment.





Again, Stagecraft deals primarily with scenery and the typical methods for its construction, any

“Diversity” will be indirect and not easily combined with the primary goal of the class.

“Diversity” can be more readily addressed in the TH 113 practicum class which a student will be

taking in conjunction with stagecraft. As we are working on a fully realized production the

methods for construction may vary widely: in materials used, cultural style and origin, method of

construction, from the standard models presented in the stagecraft class.


Dept. of Theatre

Course Analysis – TH 133 – Stage Make-up


Stage

Makeup

TH133 This is a basic stage makeup class. It is designed to

provide the future actors, designer, or theatre teacher

with the skills necessary to design and execute stage

corrective and old age make-ups. In addition, the

course will cover various commonly used special

effects make-ups for the stage.

12

Instructor: Kate Ellis







This course is a basic theatrical makeup design and application course, and the

interconnectedness and interdependence of the human experience on a global scale do not apply.

We do discuss concerns with varying skin types and facials structures according to ethnic type

and heredity, how people live and age, and how those affect the aging process on the human

face.






We discuss conservation of materials, the longevity of the stage makeup used in class.





As listed above, we discuss color differences in makeup which are available and designed for

various skin types and colors according to ethnicity.


Dept. of Theatre

Course Analysis – TH 202 – Costume Design


Costume

Design

TH202 This course will cover the elements of design, script

and character analysis, conducting and presenting

research, and the creation of character and costume

plots. We will explore the production team

collaborative process, and the development and

presentation of costume designs for a theatrical

production. This class is dependent on the student‟s

development of an understanding of theatrical design

and their ability to discover, express, and defend their

own artistic ideas.

15

Instructor: Kate Ellis







We look at and discuss the various styles of design that are unique to different regions in the

world and how they are representative of differing cultural and life experiences.






We discuss the use of pulled costumes, or costume purchased at used clothes stores. The re-use

of materials is a common and long standing practice in the area of costume design.





We discuss diversity as it comes up according to the plays being studied each semester.


Dept. of Theatre

Course Analysis – TH 204 – Basic Scene Design


TH 204 Basic Scenic Design 16

Instructor: Battles







Basic Scenic Design is project and conceptually based. The student will be exposed to a wide

variety of topics and ideas as they relate to a script (which varies) and the designing of scenery.

The research and application of concept as it relates to the script are open to the student under the

guidance of the faculty and the engagement of the student into the global is an extremely

important aspect of the class. The student will develop individual concepts, research, present

and manifest a design for each project and through critique their insights will also inform their

fellow students of possibilities they may not have considered while working with the same script.






Having taken stagecraft prior to scenic design the student will be expected to design with the

understanding of how the scenery could be built and with what materials. “Environmental

Sustainability” remains a strong consideration as we conceive the world of the play.





“Diversity” is strongly tied to the methods used for “Global Engagement” in this class. We are

dealing with several questions simultaneously:

How can one understand and sympathize/empathize with the characters in a script and

then manifest a world in which they would logically live?


Dept. of Theatre

How do we approach with sensitivity and understanding a script written for a different

culture, time, and place and then create for “our” audience?


Dept. of Theatre

Course Analysis – TH 235 – Acting II

Course Course #

Th 235

Course Description

Acting II

Enrolment Cap

18

Instructor: Bob Yowell







The art of acting is centered in understanding the human condition in all of its manifestations.

Most actors play characters that cross the spectrum of humanity. For example, it is not unusual

for a professional repertory actor to play a character from one country only to play a character

from another on the following night. In researching a role the actor must become familiar with

all global cultural aspects of a given character.





The very nature of theatre demands diversity. Plays are written that look at human beings from

all walks of life and in places throughout the world. Diversity concepts have been at the core of

theatre since its beginnings.






Every actor must be competent in script analysis. If a given play is centered on environmental

sustainability then the actor must become familiar with the issues that his character is

advocating. Further, in order for the actor to create a three dimensional character they must

know the arguments both pro and con of that character so that the audience can see what subtext

is present within all characters.


Dept. of Theatre

Course Analysis – TH 263 – Lighting Design


TH 263 Lighting Design 15








This course has a component to it that discusses at depth the cultural implications of Lighting

Design. It is part of the desire for the student to understand their own stance in the world of

theatre, and how they are tied to all peoples and cultures that practice theatre. This is an

incredibly important factor: to understand what it is to be human, and how that is integrated into

artistic endeavor.






I have already been integrating the idea of „Green Theatre‟ into the curriculum. By having

discussions directly related to how technology impacts the environment and how we can achieve

a beautiful design under the jurisdiction of frugality. This idea speaks not only to utilizing

equipment that is environmentally friendly but also the impact that the technology has a global

scale i.e. how is equipment manufactured? What is the company‟s impact both in the US and

abroad? This course delves deeper than intro course on how to integrate this into real world

practices.





This course could better serve this function by consciously choosing texts that help the student

understand the diverse nature the human race. Many plays naturally lend themselves to the idea

of diversity on many levels. The important part for the student to understand is that a theatre

practitioner must be knowledgeable with all parts of human culture to be able to speak and act

with knowledge when integrating these ideas into the area of design for the stage.


Dept. of Theatre

Course Analysis – TH 331 – Theatre History I & TH 341W Theatre History II


TH 331 &

341W

Theatre History I

Theatre History II

30

Instructor: Groves







The study of Theatre History cannot exist in a vacuum. A full appreciation of the subject matter

and, consequently, the practice of theatre as a discipline/craft may only be had when placed into

the perspective of all aspects of cultural history. The “universal-ness” of human experience is the

subject of great drama. Moreover, the drama that emanates from a culture is a reflection of that

culture in that time period but may only be fully understood when compared to the manner in

which other theatre and drama globally (or in the case of this course, in Western Civilization)

reflects that same universal subject. Great drama and theatre seem only to develop when a

civilization achieves its own level of stability in a global perspective – culturally, economically,

politically, religiously, militarily and historically – particularly when groups welcome free

expression. It cannot be established globally, for example, that William Shakespeare is the

world‟s great dramatist, though he certainly is considered so in English, American, and German

criticism. The French or the Italian cultures would consider such greatness to belong to

playwrights like Jean Racine, and perhaps a few others – and neither culture can understand the

other‟s predilection. By the same token, Romanticism may not be fully comprehended without

an understanding of Neoclassicism and the passion that one culture may place on art and

expression is only balanced by the reason emphasized by another. Thus, the study of the History

of Theatre from western beginnings to c. World War II/1950 exists in significant part to

understand the development and practice of Theatre today. (The Department offers another

course, TH 451, Modern Drama, to examine the contemporary theatre).







Dept. of Theatre

While not a significant portion of these two courses, certain important dramatists and their plays

deal specifically with a sustainable relationship to the natural environment (Shakespeare‟s As

You Like It, Ibsen‟s An Enemy of the People, G.B. Shaw‟s Heartbreak House, Karl & Josef

Kapek‟s RUR, Andre Breton‟s The Breasts of Tyresias), particularly in the late 19th

– mid

Twentieth centuries. Several noteworthy movements throughout this period – Social Realism,

Naturalism, and Futurism – do broach the discussions of ethical perspectives. In some periods

(the Irish Renaissance, for example) ethical perspectives of environmental sustainability are

present as well These movements as well as their influence on drama, their reflection in dramatic

literature and, especially, practice after 1950 are essential topics to the development of Modern

and Contemporary Theatre. Though there is no single movement identifiable in dramatic

literature, there is, by the end of the study in TH 341W, a growing awareness of these issues in

visual production and design prior to World War II throughout Western Culture.





The critical reflection of Diversity is inherent in the study of the History of the Theatre and has

been outlined somewhat in the first two answers here. That Theatre and Drama, both in practice

and in appreciation are experienced socially and are referred to both in NAU Theatre‟s Mission

as well as throughout Western Dramatic Theory and Criticism as the most collaborative of the

arts, is a significant tenet of our entire curriculum.

A full exposure to global perspectives and cultural diversity in the art is probably incomplete

without the Department‟s course in Eastern Theatre/Drama (TH 451) but is currently dormant.


Dept. of Theatre

Course Analysis – TH 352 – Directing 1


Directing I TH 352 Principles and aesthetics of directing. Criteria and

procedures of play selection, analysis, casting,

rehearsal, and production. Direction of scenes for

class. Letter grade only. Prerequisite: (Admission to

Theatre (BA) or Theatre (BS) or Theatre (BSED) or

Theatre-Ext Major (BSED) or Theatre Studies (BS) or

Theatre Ed (MINOR) or Theatre (MINOR)) or

International Exchange Student Group

16

Instructor: Kathleen M. McGeever (Bob Yowell also teaches the course)







This course provides a basic understanding of the fundamental skills used in directing for the

stage. Topics include: Storytelling, Collaboration, Communication, Leadership,

Analysis/Interpretation, and directing Technique. Stage directors direct plays and plays are

about the human condition. The study of directing is done in a practical, hands-on mode of

delivery. With the practical application of analysis, research, and interpretation of plays for

performance, students will practice global engagement.






This learning outcome is not able to be covered in Directing I. The course is elemental and

foundation building, and to that end, we deal with the text and the human component (actors).

The design elements and production values are not explored at this level. As plays are written,

hopefully in the future, that deal with environmental sustainability in the human story, we will be

able to apply this learning outcome. At this point, there are very few plays that deal with these

issues.


Dept. of Theatre





This course provides a basic understanding of the fundamental skills used in directing for the

stage. Topics include: Storytelling, Collaboration, Communication, Leadership,

Analysis/Interpretation, and directing Technique. Stage directors direct plays, and plays are

about the human condition. The study of directing is done in a practical, hands-on mode of

delivery. With the practical application of analysis, research, and interpretation of plays for

performance, students will begin to reflect upon the nature and the consequences of diversity and

how it interplays in society.


Dept. of Theatre

Course Analysis – TH 363 – Stage Management


TH 363 Stage Management 15








This course looks into management scenarios of a wide variety. The student needs to be able to

communicate with a huge diversity of people with different styles of communication. By

investigating how these styles play out in the theatre world the student can better understand

their own way of communicating with many different people in the theatre.






This course does not necessarily apply under this heading. I do teach with an eye to moving

toward a paperless environment.





The Stage Manager is the hub a hugely diverse group of people. By helping the student to better

understand themselves they are better prepared for the actual position of Stage Manager. Many

different techniques are currently being used to help gain this understanding, and I am always

looking for ways to improve understanding and communication.


Dept. of Theatre

Course Analysis – TH 490 – Senior Capstone


TH 490C Senior Capstone NA

Instructor: Any faculty member in the department







TH 490C Senior Capstone class is a seminar bases class which has an attached “Senior Project”.

The Senior Project is a culmination of the knowledge and practical experience a student has

gained during their time in the major. The project is an open project, with a large possibility for

the student to integrate a global perspective into their work, which is determined by the student

with faculty approval and is advisor supervised. The student is expected to research and present

their project to the department at large.

The seminar portion of the class discusses the possible applications of the theatre degree in the

world at large and to expose the student to the vast global array of fields into which they might

go in the future.






“Environmental Sustainability” is not a primary goal of this class but is a topic of discussion in

the seminar and might be a strong area of research in a student‟s individual project.





“Diversity” is a built in factor in the presentation and selection of topic for the project portion of

the class. The seminar discusses the issues of diversity as they relate to the field of theatre and

the specific areas of emphasis within the major; who you are and how you relate to the world

through theatre.


Dept. of Theatre

Reference Materials

CIE Study abroad programs NAU Education Abroad Programs Offering Theatre Classes Theatre classes are offered in English unless noted otherwise. Programs are exchange unless noted as fee-paying. Exchange programs allow NAU students to pay regular in-state or out-of-state tuition while studying abroad and are thus very affordable. Fee paying programs tend to be more expensive. Semester and/or Year University of Newcastle, Australia American University in Bulgaria, Bulgaria Masaryk University, Czech Republic MICEFA, Paris, France (coursework available in French only) University of Ghana American College of Greece University of Iceland, Iceland University College Cork, Ireland (fee paying program, not exchange) Université du Luxembourg, Luxembourg (limited coursework available in English) University of Latvia, Latvia University of Malta, Malta Waikato University, New Zealand Universidad de Jaén, Spain (limited coursework available in English) University Hull, UK University Wolverhampton, UK (we currently cannot send students but that may change soon) London Metropolitan, UK (fee paying program, not exchange) University of Central Lancashire, UK University of Chester, UK University of Ulster-Magee campus, Northern Ireland/UK University of Bristol, UK (fee paying program, not exchange) University of Reading, UK Summer Options Yonsei University, South Korea (fee paying program, not exchange) University of Bristol, UK (fee paying program, not exchange) Imperial College (London), UK (fee paying program, not exchange)


Dept. of Theatre

Liberal Studies Course List

COURSE TITLE EFFECTIVE DATE

NOTES

Aesthetic and Humanistic Inquiry

ARH 141 3 Western Art to 1400 Spring 2010 - CU to AHI

ARH 142 3 Western Art Since 1400 Spring 2010 - CU to AHI

ARH 143 (Global) 3 Introduction to the Arts of Asia Spring 2010 - CU to AHI

ARH 257 3 A Cultural History of Photography Fall 2003

ARH 269 (Global) 3 Arts of China Spring 2006

ARH 270 (Global) 3 Arts of Japan: Tradition and Modernity

Fall 2004

ARH 344 3 Italian Renaissance Art Fall 2010 - CU to AHI

Prerequisite: Junior Status

ARH 347 3 Nineteenth Century Art Spring 2010 - CU to AHI

Prerequisite: Junior Status or higher or International Exchange Student Group

ART 100 3 Art Appreciation

ART 150 3 Two-Dimensional Design Fundamentals

Fall 2007 - remove prerequisite

ART 151 3 Three-Dimensional Design Fundamentals

COM 250 3 Environmental Perspectives on Communication Arts

CVC 101 3 Introduction to Cinema and Visual Culture

Spring 2009

EMF 382 3 The Art of Cinema Fall 2010 - COM to EMF, title change, prerequisite change

Prerequisite: Sophomore Status or higher

ENG 130 3 The World of Literature Fall 2008 - prerequisite added

Prerequisite: Freshman or Sophomore status


Dept. of Theatre

ENG 230 3 Introduction to Literature Prerequisite: ENG 105 or HON 190 or HON 191

ENG 231 3 British Literature to 1750 Prerequisite: ENG 105 or HON 190 or HON 191

ENG 232 3 British Literature since 1750 Prerequisite: ENG 105 or HON 190 or HON 191

ENG 242 3 American Literature from Colonial Times to 1865

Prerequisite: ENG 105 or HON 190 or HON 191

ENG 243 3 American Literature from 1865 to Present


ENG 245 (Ethnic) 3 US Multi-Ethnic Prerequisite: ENG 105 or HON 190 or HON 191

Literature Survey

ENG 247 (Ethnic) 3 Introduction to African American Literature

Spring 2008 Prerequisite: ENG 105 or HON 190 or HON 191

ENG 252 3 European Literature Prerequisite: ENG 105 or HON 190 or HON 191

ENG 253 3 World Literature Prerequisite: ENG 105 or HON 190 or HON 191

ENG 335 3 Shakespeare Prerequisite: ENG 105 or HON 190 or HON 191

ENG 358 3 Ancient Literature Fall 2009 - #251 to #358

Prerequisite: ((ENG 105 or HON 190 or HON 191 or English Placement Test Results (PLACE 60+)) and 3 hours of ENG-English coursework) or International Exchange Student Group

ENG 362 3 Drama Fall 2008 Prerequisite: ENG 105 or HON 190 or HON 191 or International


Dept. of Theatre

Exchange Student Group

ENG 365 3 Contemporary Literature Prerequisite: ENG 105 or HON 190 or HON 191

ENG 366 3 Film as Literature Prerequisite: (ENG 105 or HON 190 or HON 191) and 3 hours ENG coursework

ENG 381 3 Cross-Cultural Approaches to Folklore


ES 150 3 Introduction to African American Studies

Summer 2006

(Ethnic)

ES 160 (Ethnic) 3 Introduction to Latino(a)/Chicano(a) Studies

Fall 2008

ES 200 3 Race, Identity and Film Summer 2006

(Ethnic)

FS 121 3 Aesthetic & Humanistic Inquiry First Year Seminar

Fall 2007 Prerequisite: Not open to students with more than 30 units

HIS 308 3 Science, Technology and Society in the American West

HIS 341 3 Early Modern Europe

HUM 101 3 Introduction to the Humanities

HUM 120 3 The Search for Meaning Fall 2004

HUM 130 (Ethnic) 3 Introduction to Southwest Humanities

Spring 2010 - CU to AHI

HUM 175 3 Environmental Humanities Spring 2010 - CU to AHI

HUM 250 3 Humanities in the Western World I

HUM 251 3 Humanities in the Western World II

HUM 272 3 Art and the Sacred Fall 2010 - title change

HUM 291 (Ethnic) 3 American Multicultural Ideas and Values

Spring 2010 - CU to AHI

HUM 345W 3 Critical Judgment in the Humanities Spring 2003 Prerequisite: Sophomore Status


Dept. of Theatre

HUM 351 3 Perspectives on Western Humanities I

Prerequisite: Sophomore Status

HUM 352 3 Perspectives on Western Humanities II


HUM 353 3 Perspectives on Western Humanities III


HUM 362 (Global) 3 Perspectives on Asian Humanities Fall 2010 - prerequisite change

Prerequisite: Sophomore Status or higher or International Exchange Student Group or 90-30 Milestone

HUM 370 3 The Popular Arts Fall 2004 Prerequisite: Sophomore Status or higher or International Exchange Student Group or 90-30 Milestone

Fall 2010 - prerequisite change

HUM 371 3 Humanistic Values in a Technological Society


HUM 376 3 Visions of Utopia Spring 2010 - SPW to AHI

Prerequisite: Junior Status or higher or International Exchange Student Group or 90-30 Milestone


HUM 380 3 Humanistic Values in Postwar Cinema

Spring 2010 Prerequisite: Sophomore Status or higher

HUM 382 3 World Perspectives in Humanities Prerequisite: Sophomore Status

HUM 383 3 Topics in World Cinema Fall 2010 Prerequisite: Sophomore Status or higher

MUS 183 3 Introduction to Opera I Fall 2005

MUS 184 3 Introduction to Opera II Fall 2005


Dept. of Theatre

MUS 320 3 Western Musical Heritage Prerequisite: ENG 105 or HON 190 or HON 191 with grade C or better

MUS 396 3 The Broadway Musical Fall 2010 Prerequisite: ENG 105 or HON 190 or HON 191 or International Exchange Student Group

PHI 100 3 Elements of Philosophy

PHI 101 3 Introduction to Philosophy

PHI 105 3 Introduction to Ethics

PHI 150 (Global) 3 Philosophies of the World Fall 2004

Fall 2007 - title change, #110 to #150

PHI 203 3 Scientific Reasoning Fall 2004

PHI 223 3 Argument Analysis

PHI 240 3 Ancient Philosophy

PHI 241 3 Modern Philosophy

PHI 320 3 Metaphysics

PHI 321 3 Epistemology Prerequisite: 3 hours PHI coursework

PHI 322 3 Philosophy of the Mind Spring 2003

PHI 331 3 Environmental Ethics

PHI 351 3 Philosophy in Literature Summer 2003

PHI 352 3 Philosophy of Religion

PHI 359 3 Philosophy of Science

POS 231 3 Politics and the Humanities Fall 2010 - Title change

REL 151 3 Introduction to the Study of Religions

REL 202 3 Mysticism: West

REL 203 (Global) 3 Mysticism: Asia

TH 101 3 Introduction to the Theatre

TH 125 3 Introduction to Acting Fall 2004 # was 132

WGS 300W 3 Feminist Theories Fall 2008 - WST to WGS

Prerequisite: WGS 200

Cultural Understanding


Dept. of Theatre

ANT 102 (Global) 3 Exploring Cultures

ANT 103 (Global) 3 Culture in Communication

ANT 209 (Global) 3 Folklore of the World: Anthropological Perspectives

ANT 211 3 The Anthropology of Everyday Life Fall 2005

ARH 145 (Global) 3 The Arts of Native North America, Africa, and Oceania

ARH 346 3 Baroque and Rococo Art Prerequisite: Junior Status

ARH 351 3 Art of the United States Prerequisite: Junior Status

ARH 352 3 Twentieth Century Art to 1945 Prerequisite: Junior Status

ARH 353 3 Art Since 1945 Prerequisite: Junior Status

BME 310 (Ethnic) 3 Foundations of Multicultural Education

COM 301 (Ethnic) 3 Race, Gender, and the Media Prerequisite: Sophomore Status

ENG 220 3 English Grammar and Usage Prerequisite: ENG 105 or HON 190 or HON 191

ENG 223 3 Language in the United States Prerequisite: ENG 105 or HON 190 or HON 191

ENG 266 3 World Cinema: An Introduction Fall 2009 Prerequisite: ENG 105 or HON 190 or HON 191 or instructor's consent

ENG 364 3 Popular Literature Prerequisite: (ENG 105 or HON 190 or HON 191) and 3 hours ENG coursework

ENG 380 3 American Folklore Prerequisite: ENG 105 or HON 190 or HON 191

ES 100 (Ethnic) 3 Introduction to Ethnic Studies Fall 2008

ES 356 (Ethnic) 3 Race, Power, and Politics

ES 358 (Ethnic) 3 Critical Race Theory Fall 2010


Dept. of Theatre

HIS 102 (Global) 3 World History II: The Making of the Modern World

HIS 372 3 The U.S. in the World Fall 2008 Prerequisite: Sophomore Status or higher

HIS 388 3 U.S. Thought and Culture since 1865

Fall 2008 Prerequisite: Sophomore Status or higher

HUM 373 3 Nature and Values Prerequisite: Sophomore Status

MER 243 3 History of Clothing

MER 244 3 Twentieth-Century Dress

MUS 260 (Global) 3 Introduction to World Music

MUS 360 3 Topics in World Music Prerequisite: ENG 105 or HON 190 or HON 191 with grade C or better

POS 120 3 World Politics

POS 356 (Ethnic) 3 Race, Power, and Politics

POS 357 (Ethnic) 3 Topics in Cultural Diversity

POS 358 (Ethnic) 3 Critical Race Theory Fall 2010

REL 150 (Global) 3 Religions of the World

REL 301 3 Ancient Gods and Goddesses Prerequisite: Sophomore Status

REL 311 3 Judaism Prerequisite: Sophomore Status

REL 321 3 Christianity Prerequisite: Sophomore Status

REL 326 3 Early Christian Life and Literature Fall 2008 Prerequisite: Sophomore status or higher, plus completion of ENG 105 or equivalent

REL 331 3 Islam Prerequisite: Sophomore Status

REL 341 (Global) 3 Hinduism Prerequisite: Sophomore Status

REL 351 (Global) 3 Buddhism Prerequisite: Sophomore Status

REL 380 (Ethnic) 3 Native American Religions Prerequisite: Sophomore Status

REL 391 3 Religion, Nature and the Environment



Dept. of Theatre

SC 323 3 Intercultural Communication Prerequisite: Sophomore Status

Lab Science

ANT 271 4 Physical Anthropology II: Human Variation

BIO 181L 1 The Unity of Life I Lab Summer 2005 -

Prerequisite or Corequisite: BIO 181

split out lecture and lab

ENV 101L 1 Intro to Environmental Sciences Lab

Fall 2007 - Corequisite added

Corequisite: ENV 101 or ENV 101H

GGR 150 4 Physical Geography Fall 2010 - #250 to #150

GLG 100L 1 Introductory Geology Lab Corequisite: GLG 100

GLG 103 1 Physical Geology Lab Corequisite: GLG 101

GLG 104 1 Historical Geology Lab Prerequisite: (GLG 101 and GLG 103) or GLG 110 or GLG 112

GLG 110L 1 Environmental Geology Lab

GLG 201 4 Ancient Life

PHS 101 4 Physical Science in Everyday Life Fall 2009

Applied Science

ANT 101 3 Humankind Emerging

ANT 377 3 Anthropology of Race: Human Physical Variation and Its Cultural Interpretation

Fall 2008

BIO 154 3 Art and Science of Human Movement

Fall 2008 - EXS 150 to BIO 154

BIO 301 3 Science, Religion & Reality Summer 2010 Prerequisite: Junior Status or higher

BIO 302 3 Relevance of Science Summer 2010 Prerequisite: Junior Status or higher

CIS 120 3 Intro to Computer Information Systems


Dept. of Theatre

CS 110 3 Introduction to Computer Science Fall 2008 Prerequisite or Corequisite: MAT 125 or MAT 125H or higher

CS 112 3 Intro to the World Wide Web and Internet

Fall 2005 -prerequisite change

Prerequisite: MAT 114 or higher with grade C or better or Math placement 43

CS 122 3 Programming for Engineering and Science

Fall 2005 -prerequisite change

Prerequisite: MAT 108 or Math Placement 43 or higher with a grade greater than or equal to C

Fall 2008 - title change

CS 212 3 Web Programming Fall 2005 -prerequisite change

Prerequisite: CS 122 or CS 122H

ENV 101 3 Introduction to Environmental Sciences

Fall 2007 - Corequisite added

Corequisite: ENV 101L

ENV 181 3 Environmental Sustainability Fall 2006 Fall 2010 - title change

MAT 131 3 Topics in Calculus Prerequisite: MAT 108 or MAT 110 or MAT 119 with grade C or better or Math Placement 65 or higher

MAT 136 4 Calculus I Prerequisite: MAT 125 or MAT 125H with grade C or better or Math Placement 70 or higher

PHI 103 3 Introduction to Logic

PHY 107 3 Concepts of Physics Corequisite: PHY 107L

PHY 262 3 University Physics II Prerequisite: (PHY 161 and PHY 161L) and Prerequisite or Corequisite: MAT 137 or higher


Dept. of Theatre

SST 191 3 Communication Disorders in Literature and Media

Fall 2005 - CSD to SST

Social and Political Worlds

ANT 104 (Global) 3 Buried Cities and Lost Tribes

ANT 105 3 Anthropology Today: Global Issues Fall 2005

ANT 301 (Global) 3 Peoples of the World

ANT 350 (Global) 3 Ancient Civilization

COM 102 3 Mass Media and Society Summer 2010 - JLS 200 to COM 102

COM 150 3 Environmental Communication

ECO 284 3 Principles of Economics: Micro Spring 2005 -Prerequisite change

Prerequisite: MAT 114 or Math Placement 55 or higher

ECO 285 3 Principles of Economics: Macro Spring 2005 -Prerequisite change

Prerequisite: MAT 114 or Math Placement 55 or higher

ES 215 (Ethnic) 3 Racial and Ethnic Relations

ES 300 3 Global Race & Ethnic Relations Fall 2006

(Global)

ES 378 (Ethnic) 3 Asian American History Fall 2010

FOR 222 3 Environmental Conservation

FOR 230 (Ethnic) 3 Multicultural Perspectives of Natural Resources Management


GGR 240 3 World Geography: West

GGR 241 (Global) 3 World Geography: East

HIS 100 3 World History I Spring 2010 - CU to SPW

HIS 240 3 The Development of Europe to 1650


HIS 241 3 The Development of Europe since 1650


HIS 251 (Global) 3 The Making of Modern Asia

HIS 270 3 History of the Ancient Near East Spring 2006 - title change


Dept. of Theatre

HIS 291 3 U.S. History to 1865

HIS 292 3 U.S. History since 1865

HIS 312 (Global) 3 Gandhi’s India

HIS 314 (Global) 3 Contemporary India

HIS 325 (Global) 3 Modern China

HIS 326 (Global) 3 China Since 1945 Summer 2010 Prerequisite or Corequisite: HIS 251 or HIS 325

HIS 332 (Global) 3 Modern Japan

HIS 334 3 Ancient World: Egypt, Its Culture and Civilization

HIS 335 3 The Ancient World: Greece

HIS 336 3 The Ancient World: Rome

HIS 338 3 The Middle Ages Fall 2004

HIS 340 3 Renaissance and Reformation

HIS 343 3 Nineteenth Century Europe

HIS 344 3 Recent Europe

HIS 350 3 Modern Spain Summer 2010

HIS 351 3 Modern France: Revolution, Reaction, and Republicanism

HIS 366 3 The Holocaust

HIS 373 3 The City in U.S. History Fall 2008 Prerequisite: Junior Status or higher

HIS 375 3 The English Heritage I Summer 2010

HIS 376 3 Modern Britain Fall 2010

HIS 378 (Ethnic) 3 The Asian American Experience Summer 2010

HIS 385 (Ethnic) 3 Navajo History Summer 2010 Prerequisite: HIS 293

HIS 394 3 Cold War U.S. Fall 2008 - title change

HIS 396 (Ethnic) 3 Chicano History

HIS 397 3 Survey of American Environmental History

HUM 375 (Ethnic) 3 Women in American Arts and Culture

Fall 2005 Prerequisite: Sophomore Status or higher or 90-30 Milestone


HUM 395 3 Public Humanities Fall 2005 Prerequisite: Junior Status or


Dept. of Theatre

higher

Spring 2006 - Prerequisite added

MER 330 3 Cultural, Psychological, and Social Aspects of Dress

Fall 2009 - #430 to #330

Spring 2010 - CU to SPW

PHI 357 3 Political Philosophy

POS 110 3 American Politics

POS 159 3 Nature and Politics

POS 201 3 Introduction to Politics

POS 224 3 Public Administration

POS 230 3 Current Issues in Politics

POS 241 3 State and Local Politics

POS 250 3 Introduction to Public Policy Making

POS 254 3 Political Ideologies

POS 344 3 Environmental Movements

POS 359 3 Environmental Policy

POS 360 3 Comparative Politics Prerequisite: POS 120 or POS 201

POS 361 (Global) 3 Politics of Developing Nations Prerequisite: POS 120 or POS 201

POS 362 3 Studies in West European Politics Prerequisite: POS 120 or POS 201

POS 364 3 Studies in Russian and Central European Politics

Prerequisite: POS 120 or POS 201

PSY 101 3 Introduction to Psychology

PSY 240 3 Developmental Psychology Prerequisite: PSY 101

PSY 250 3 Social Psychology Prerequisite: PSY 101

PSY 280 3 Cross-Cultural Psychology Summer 2010 Prerequisite: PSY 101 or 101H

REL 201 (Global) 3 Introduction to Tribal Religions

REL 206 (Global) 3 Women’s Roles & Experience in Asian Religions

REL 390 3 Recent Trends in Religion Prerequisite: Sophomore Status

SC 111 3 Fundamentals of Public Speaking

SC 151 3 Intro to Interpersonal Communication

Fall 2010


Dept. of Theatre

SC 318 3 Oral Argumentation in Law Prerequisite: Junior Status

SC 370 3 Rhetorics of Nature and Environmentalism

Fall 2010 Prerequisite: Sophomore Status or higher

SC 365 3 Communication in Contemporary Affairs


SOC 101 3 Introduction to Sociology

SOC 204 3 Sociology of Gender

SOC 210 3 Social Problems

SOC 215 (Ethnic) 3 Racial and Ethnic Relations

SOC 217 3 The Family

SOC 301 3 Topics in Contemporary Social Issues

SOC 316 3 Sociology of Sexuality

SOC 333 3 Environment and Society Fall 2003

WGS 150 3 Women, Information, and Technology

Fall 2008 - WST to WGS

WGS 200 3 Introduction to Women's and Gender Studies

Fall 2008 - WST to WGS, title change

WGS 260 (Global) 3 Third World Women Fall 2008 - WST to WGS


Dept. of Theatre

Senior Project Rubrics

Senior Project Rubric

Senior Project Rubric

Student Name: ___________________________________________________________

Evaluator: _______________________________________________________________

(The rubric will ask you to score the Process, Product and the Documentation for each student’s Senior

Project. Circle rating with 1 being poor or not present and 5 being excellent)

The following principal should be used as a guide to define what we mean by professional as well as our

over all expected student artist behavior.

“Theatre is a collective art, requiring the collaborative work of many people in a situation varied in

activity and limited in time who must conduct themselves in a professional manner in order for the art

form to be successful both in process and in performance and, model professional cooperative behavior

to our students. It is therefore essential that all parties (faculty, staff and students) conduct themselves

in a responsible, courteous and professional manner.”

PROCESS

The student’s process/preparation was well thought out and appropriate to the final artistic/research

product. This includes professional interaction with faculty, staff and student colleagues:

1 2 3 4 5

The student applied their course work appropriately to the project:

1 2 3 4 5

PRODUCT

The Student’s project was appropriately developed and executed for a senior (400 level) class:

1 2 3 4 5


Dept. of Theatre

The outcome of the student’s project (design, performance, position or presentation) was received

favorably:

1 2 3 4 5

Overall growth in the student’s skills and craftsmanship was evident. This includes the understanding

and implementation of an appropriate process as related to the final product this growth was evident in

the artistic/research product:

1 2 3 4 5

The student’s product explored, addressed and/or incorporated (or shows evidence/sensitivity to)

Diversity:

1 2 3 4 5


Global Awareness:

1 2 3 4 5


Sustainability:

1 2 3 4 5

Comments:

Senior Project Advisor Rubric

Senior Project Advisor Rubric

Student Name: ___________________________________________________________

Evaluator: _______________________________________________________________

(The rubric will ask you to score the Process, Product and the Documentation for each student’s Senior

Project. Circle rating with 1 being poor or not present and 5 being excellent)


Dept. of Theatre

The following principal should be used as a guide to define what we mean by professional as well as our

over all expected student artist behavior.

“Theatre is a collective art, requiring the collaborative work of many people in a situation varied in

activity and limited in time who must conduct themselves in a professional manner in order for the art

form to be successful both in process and in performance and, model professional cooperative behavior

to our students. It is therefore essential that all parties (faculty, staff and students) conduct themselves

in a responsible, courteous and professional manner.”

The student was actively engaged with you as their advisor (as well as with all related project

colleagues) while developing the project. Meeting regularly etc:

1 2 3 4 5

Student clearly outlined and documented their goals for the Senior Project and had them approved by

their advisor:

1 2 3 4 5

Student’s documentation was complete well organized and in line with the approved outline/plan

approved by their advisor:

1 2 3 4 5

Student reflected on and documented their process articulating what they learned clearly in written

form:

1 2 3 4 5

The student responded well and in an active and positive manner to critique of their work during the full

process of developing and executing the project.

1 2 3 4 5

The student actively communicated with their advisor during the execution of the project, as well as

with all related project colleagues.

1 2 3 4 5

The student’s exploration, discovery process and final product were developed fully and professionally:

1 2 3 4 5

The student’s process/documentation and final product explored and addressed the idea of Diversity:

1 2 3 4 5


Dept. of Theatre

The student’s process/documentation and final product explored and addressed the idea of Global

Awareness:

1 2 3 4 5

The student’s process/documentation and final product explored and addressed the idea of

Sustainability:

1 2 3 4 5

Comments:

Senior Capstone Defense Rubric

Senior Capstone Defense Rubric

Student Name: ___________________________________________________________

Evaluator: _______________________________________________________________

(Circle rating with 1 being poor or not present and 5 being excellent)

Student was appropriately prepared and used visual aids effectively:

1 2 3 4 5

Student’s resume was professionally organized and presented:

1 2 3 4 5

Student clearly articulated their goals for the Senior Project:

1 2 3 4 5

Student presented ideas and thoughts clearly and professionally this includes clearly articulated their

artistic/conceptual processes:

1 2 3 4 5

Student presented their preparation for the Senior Capstone Experience clearly:

1 2 3 4 5


Dept. of Theatre

Student reflected on their challenges (possibly how the project did not meet expectations) and

successes with the Senior Project clearly and appropriately:

1 2 3 4 5

Student articulated educational/professional goals and plans clearly:

1 2 3 4 5

Student showed evidence of overall growth in academic career:

1 2 3 4 5

The student addressed clearly and appropriately how the ideas of Diversity, Global Awareness, and

Sustainability related to their overall experience during their Senior Project:

1 2 3 4 5

The student addressed clearly and appropriately how the ideas of Diversity, Global Awareness, and

Sustainability related to their overall experience at NAU:

1 2 3 4 5

Comments:

Web sources http://international.nau.edu/about_cie/index.html

http://international.nau.edu/communications/global_learning.html

http://international.nau.edu/about_cie/task_force.html

http://international.nau.edu/about_cie/index.html

http://international.nau.edu/communications/global_learning.html

http://international.nau.edu/about_cie/task_force.html

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