Theatre Arts at Penn State Altoona
Theatre Arts (THEA) Courses
THEA 102 (GA) FUNDAMENTALS OF ACTING (3)
Students will explore Anne Bogart's Viewpoints to enrich actor creativity, focus, the ability to follow impulses and to become aware of the entire instrument in terms of time and space. Students will then utilize what they've discovered through the Viewpoints to explore The American Method, combining techniques of Uta Hagen, Stella Adler, Lee Strasberg and Sanford Meisner which will allow them to understand that acting is doing and being, not pretending. The class will present scene work in a final informal presentation. This class serves as an arts general education credit and is also appropriate for theatre lovers and those interested in pursuing a life in the theatre. It is a prerequisite for many advanced theatre courses.
THEA 103 DIRECTING FUNDAMENTALS (3)
Students will work with the Viewpoints both from the inside (as an actor) and then begin to utilize what is discovered about time/space for staging scenes. Students will be exposed to great director's writings and will work with Compositions from Shakespeare plays, and then move in to directing short scenes of Modern Masters such as Tennessee Williams, Anton Chekhov, etc. This class is appropriate for those interested in stage and film directing.
THEA 105 (GA;US;IL) THE ART OF THE THEATRE (3)
An experiential survey of all aspects of the living theatre, as presented by a resident company of theatre artists.
THEA 110: Script Analysis
Using several plays that are recognized for their value as stories of human experience and universal truth, students develop analytical skills from a literary perspective as well as a theatrical viewpoint with concentration on the script as vehicle for performance and the understanding of it from the perspective of the actor, director, designer and dramaturge. Students practice these skills in extensive written assignments and intensive class discussion.
THEA 112: Introduction to Musical Theatre
A study of the development of Musical Theatre in America from its roots in minstrels, burlesques and 18th and 19th century European forms through its variations of the 20th century and beyond with emphasis placed on social relevance. Throughout the semester students will also rehearse and perform scenes and musical numbers from relevant plays. At the end of the semester students present samples of this work in a final informal presentation.
THEA 189 (GA) THEATRE PRODUCTION PRACTICUM (1 per semester, maximum of 6)
Supervised experience in theatre by crew participation in University theatre productions. For non-theatre students only.
THEA 208 (GA;US;IL) (AAA S) WORKSHOP: THEATRE IN DIVERSE CULTURES (3)
A performance-oriented class which explores the historic and contemporary theatrical works of various culturally diverse peoples.
THEA 282 (GA) PRODUCTION PRACTICUM (3 - 6)
Introduction to all aspects of theatre production--analysis, design, construction, production, performance--for non-theatre majors.
THEA 296 INDEPENDENT STUDIES (1 -18)
Individuals may sign up for an independent study with theatre faculty in an area of study that most interests them and fits within the student's overall educational needs.
THEA 297A DESIGN FOR THE STAGE (3)
THEA 297: Musical Theatre Production
The intermediate and advanced Musical Theatre student will participate in the rehearsal process and, at the end of the semester, studio presentation of a full-length musical production.
Pre-requisite: THEA 112 Introduction to Musical Theatre
THEA 407 WOMEN IN THEATRE (3)
THEA 429 THEATRE PERFORMANCE PRACTICUM (1 - 3 per semester)
Supervised experience in rehearsal and performance of significant roles. Prerequisite: admission by audition only
THEA 497A MOVEMENT FOR THE STAGE (3)
The techniques of Tadashi Suzuki's actor training will be applied, as well as Anne Bogart's Viewpoints. Suzuki technique combines Western Ballet forms with traditional Japanese theatre styles and the martial arts. It is a commanding language that allows actors to own their charisma, deepen their focus and awareness while on stage, and also allows explorations and find solutions for other acting problems and challenges. The Viewpoints allows actors to explore tempo, duration, architecture of the playing space, physical shapes, gestures, kinesthetic response, repetitions, gaze, topography, and spatial relationships. Both languages are quite different but work compatibly.
THEA 497B ACTING THE SCENE (3)
Students will continue their exploration of Method Acting in scene exploration as first taught by Lee Strasberg of The Actor's Studio. Students will work on Modern and Contemporary plays. The class will end in a workshop presentation of scenes for an invited audience.
THEA 497C VOICE FOR THE ACTOR (3)
This class explores Suzuki training which not only deepens actor's physicality and strength but activates pure diaphragmatic breathing necessary for the stage. Also, students will work with the classical Stanislavsky voice techniques of training the actor's instrument as an opera singer trains and develops their instrument. Students will work with vocalizations, song and text, including monologue work.
THEA 497D PLAYING SHAKESPEARE (3)
Students explore the text utilizing ideas from The Actors Studio and the Royal Shakespeare Company, combining that work with Suzuki training which develops that focus and stamina required to play the very difficult Shakespeare style. Actors learn what it truly means to be an Athlete and Warrior of the Heart.
THEATRE HISTORY COURSES
These courses are taken within the English department.
Integrative Arts (INART) Courses
INART 297A PUPPET & MASK (3)
INART 297B AUDITION TECHNIQUES (3)
In the weeks of this course we discuss and learn the tools necessary to select,
prepare, and present appropriate material (monologues and songs) with honesty,
style, and a sense of professionalism while performing a "good audition". We
will deal with stage fright and how to overcome it as well as how to write one's
resume and take that perfect photo. We will also discuss how to dress for an
audition, introduce yourself, your selections, and compile the necessary tools
needed to contact those agents and managers while surviving in the "real world".
INART 497B IVYSIDE PRIDE! (3)
This course is by audition only and the student must also take either a
dance course or a music course in conjunction with Ivyside Pride!