This is a complete listing of all courses in the Department of Dramatic Art. Not all courses are taught every semester; please check Connect Carolina to see if a given course is available in the current semester.
DRAM 079 – FYS: The Heart of the Play: Fundamentals of Acting, Playwriting, and Collaboration – This seminar is designed to get the student doing theatre, sparking creativity, and making connections with the deeper lessons of this dynamic art form. Students will write, stage, and perform their own 10-minute plays.
DRAM 080 – FYS: Psychology of Clothes: Motivations for Dressing Up and Dressing Down – The course seeks to help students find ways to articulate their own motivations for dress and then apply the ideas they have discovered to the ways in which individuality as well as group attitudes are expressed through clothing.
DRAM 081 – FYS: Staging America: The American Drama – This seminar examines American drama from its colonial origins to the present as both a literary and commercial art form. The focus throughout will be on the forces that shaped American drama as well as drama’s ability to shed light on the national experience.
DRAM 082 – FYS: All the World’s a Stage: Drama as a Mirror of Society – This seminar examines how theatre evolves from and reflects the society that generates it, and how understanding that society can enrich our responses to plays.
DRAM 083 – FYS: Spectacle in the Theatre – This course examines how the theatrical designer uses scenery, costumes, and lighting to help create a production. Students will apply these techniques in creating their own design projects.
DRAM 084 – FYS: The Inherent Qualities of Theatrical Space – This course examines what elements contribute to the theatricality of space. Through research and creative projects, students will gauge how a space informs what goes on inside it.
DRAM 085 – FYS: Documentary Theatre – This course explores the political and social ramifications of documentary theatre in the United States. Students will investigate a local community of their choosing and create an interview-based performance.
DRAM 086 – FYS: Rediscovering the Mind-Body Connection – This seminar will focus on developing our unique mind-body connection. By encouraging small and large changes in behavior students will learn how their body is used to create their world.
DRAM 089 – FYS: Special Topics –This is a special topics course. Content will vary.
DRAM 115 – Perspectives in Drama – A survey of plays from the Greeks to the present, analyzed through such elements of the dramatic text as action, character, structure, and language.
DRAM 116 – Perspectives in the Theatre – A survey of the interrelationships of acting, directing, designing, and playwriting through the study of major periods of theatrical expression and representative plays.
DRAM 117 – Perspectives in World Drama– A survey of non-Western drama and theatre with emphasis on the historical and aesthetic development of those regions.
DRAM 120 – Play Analysis– Development of the skill to analyze plays for academic and production purposes through the intensive study of representative plays. DRAM 120 is the first course in the major and the minor in dramatic art.
DRAM 131 – Writing for the Stage and Screen– Prerequisite, DRAM 120 or ENGL 130, or permission of the instructor. Introduction to writing screen and stage plays. Required for the interdisciplinary minor in screen and stage writing.
DRAM 134 – Practicum in Theatrical Auditions– Permission of the instructor. Practice in the techniques necessary for successful auditions for the theatre.
DRAM 135 – Acting for Nonmajors– Introduction to basic processes and techniques of acting for the stage.
DRAM 140 – Voice Training I– Fundamental principles underlying the effective use of voice and speech in performance.
DRAM 144 – Acting the Song – The course explores how to gain facility in expression and truthfulness in action while communicating through a dramatic song. Challenges include how to navigate a scene that moves into song and how to manage breath and vulnerability in performance. Permission of the instructor required.
DRAM 145 – Acting for the Screen and Stage– The course focuses on developing acting techniques for use in front of the camera and the way they are differentiated from those used on stage.
DRAM 150 – Introduction to acting tools, emphasizing playing actions and pursuing an objective by personalized given circumstances. Performance work drawn from short scripted, improvised, and contemporary scenes.
DRAM 154 – Performers’ Awareness – This course focuses on developing body and mind awareness and undoing habits (including habits of thought) which restrict the performer. The class explores strategies for reducing tension, re-discovering natural alignment, and replacing self-judgement with self-confidence.
DRAM 155 – Movement for the Actor – Introduction to physical training. Individual/group exercises explore relaxation, breath, concentration, flexibility, and imaginative response that become physical tools for acting. May include stage combat, juggling, mime, improvisation, games, and yoga.
DRAM 156 –Physical Comedy, Farce Techniques, and Clown – Beginning with a history of physical comedy and performance techniques, this experiential class will explore vulnerability and self-discovery through clown. Students will learn farce techniques which strengthen physical agility and comic timing. Through a process of rediscovering innocence in sound and movement, the student will begin to forget the filter of the socialized body, achieving a heightened presence.
DRAM 160 – Stagecraft – General survey of materials, equipment, and processes used in technical theatre.
DRAM 170 – The Playful Actor: Theater Games and Improvisation –This course seeks to strengthen the powers of imagination, courage, spontaneity, and presence of the actor through theatre games and improvisation.
DRAM 164 – Introduction to Stage Makeup– Introductory course exploring principles and applications of stage makeup for stage, film, television. May be repeated for a maximum of three credits. Students receiving credit for DRAM 164 receive no credit for 165.
DRAM 165 – Stage Makeup– A study of principles and techniques for stage, film, and television makeup, including corrective makeup, old age, 3-D, casting for prosthetic pieces, and methods for creating fantasy forms. Also applicable to film and television. Students cannot receive credit for both DRAM 164 and 165.
DRAM 175 – Building a Persuasive Persona Under Pressure – This course will help develop the skills necessary to be an effective communicator, especially during stressful situations. Breathing techniques which enable us to listen with accuracy and empathy, and to speak compellingly with confidence, will be practiced. Mock scenarios and on-camera interviews will create real-to-life situations.
DRAM 191 – Technical Methods: Scenery– Introduction to equipment, procedures, and personnel in the design and execution of plans for scenery, lighting, properties, and sound for theatrical productions. DRAM 191 or 192 required for the dramatic art major; open to all undergraduate students.
DRAM 192 – Technical Methods: Costume– Introduction to equipment, procedures, and personnel in the design and execution of costumes for theatrical productions. DRAM 191 or 192 required for the dramatic art major; open to all undergraduate students.
DRAM 193 – Production Practicum– Permission of the instructor required for non-majors. Practicum in production with PlayMakers Repertory Company in costuming, scenery, lighting, or sound.
DRAM 196 – Dramatic Art Projects– By permission of the department. Limited to juniors and seniors majoring in dramatic art. Intensive individual work in major areas of theatrical production: design, technical, directing, acting, playwriting, management. May be repeated for credit. INDEPENDENT STUDY LEARNING CONTRACT
DRAM 215 – Studies in Western Drama – A study of the thematic and formal developments of Western drama, tracing legacies from classical Greece to the contemporary stage.
DRAM 220 – Theatre Histories – This course introduces students to theatre histories and cultures from India, Asia, Africa, and Latin America, with reference to Western European/North American traditions. Students will investigate how drama, theatre, and performance develops both within individual cultural milieus and through contact with other cultures.
DRAM 230 – Theatre of the Word – This course, with a theatre and social justice theme, is structured to give students an understanding of the role of the speaker before the public, the logical and sequential development of an idea, and the methodology for organizing and presenting materials and information. The course will cover information gathering, speech outlining, small group discussion, and provide extemporaneous, informative, and persuasive speaking opportunities.
DRAM 231 – Playwriting I– By permission of the department. A practical course in writing for the stage with studio productions of selected works.
DRAM 235 – Acting for Nonmajors II– Prerequisite, DRAM 135. A further exploration of basic processes and techniques of acting for the stage.
DRAM 240 – Voice Training II– Prerequisite, DRAM 140. A continuation of DRAM 140.
DRAM 245 – Acting for the Camera– Prerequisite, DRAM 135, 150, or permission of the instructor. The process of acting and its relationship to the technical and artistic demands of television/film production. Problems of continuity and out-of-sequence filming. Concentration and thinking on camera.
DRAM 250 – Intermediate Acting for the Major– Prerequisite, DRAM 150. A deeper exploration of fulfilled actions prompted by an objective, with emphasis on developing techniques required by more formally structured texts such as Sophocles, Molière, Ibsen, Shaw, and Chekhov.
DRAM 255 – Movement for the Actor II– Prerequisite, DRAM 155 or permission of the instructor. Development of balance, flexibility, strength, focus, grace, and precision through martial art of T’ai Chi Ch’uan. Emphasis on applying T’ai Chi principles to acting. Chinese philosophical bases for T’ai Chi explored.
DRAM 260 – Advanced Stagecraft– Prerequisite, DRAM 160 or permission of the instructor. The course provides practical applications of principles and techniques used in technical theatre. Lectures are supported by individually scheduled workshop sessions where techniques are applied to a theatrical production.
DRAM 265 – Stage Make-up – A study of principles and techniques for stage, film, and television makeup, including corrective makeup, old age, 3-D, casting for prosthetic pieces, and methods for creating fantasy forms. Also applicable to film and television.
DRAM 277 – Introduction to Theatrical Design – General principles of scenic, costume, and lighting design/implementation for the theatre.
DRAM 279 – Intro to Theatre Management. An overview of the major functions of management in the American nonprofit theatre including marketing, fundraising, finances, strategy and operations. Presentation skills will be practiced.
DRAM 280 – Period Styles for the Theatre– A study of visual, cultural, and social styles through history as the forms developed, and as they relate to stylistic production for the theatre. Students may not receive credit for both DRAM 280 and 480.
DRAM 281 – Theatre History and Literature I– Prerequisite, DRAM 120. Survey of theatre practice and writing from the Greeks to 1700.
DRAM 282 – Theatre History and Literature II– Prerequisite, DRAM 120. Survey of theatre practice and writing from 1700 to 1920.
DRAM 283 – Theatre History and Literature III– Prerequisite, DRAM 120. Survey of theatre practice and writing from 1930 to the present.
DRAM 284 – Studies in Dramatic Theory and Criticism– Seminar in dramatic theory and criticism with emphasis on the modern period. May be repeated for credit.
DRAM 285 – Modern British Drama– Evolution of modern British drama from 1956 through the present.
DRAM 286 – Modern Irish Drama– This course surveys Irish drama from the 1890s to the 1980s, investigating a broad range of plays in relationship to the sociopolitical and theatrical conditions of their emergence and reception.
DRAM 287 – African American Theatre– This course investigates the history and legacy of African American drama through the study of its literary texts, performance styles, and cultural history.
DRAM 288 – Theatre for Social Change. This course assesses different models of theatre for social change through change theory, playwriting, and collaboration. Students will be guided through the process of creating new works.
DRAM 289 – Contemporary Irish Drama– This course investigates Irish drama from the 1990s to the present, exploring how issues and themes of globalization, gender, race, nation, and identity, among others, translate from text to performance.
DRAM 290 – Special Topics in Dramatic Art.May be repeated for credit. The study of a topic in dramaturgy, theatrical design or theatrical production. Content and instructor will vary. This is the number used for most independent studies. See Director of Undergraduate Studies for more information as well as the attached INDEPENDENT STUDY LEARNING CONTRACT
DRAM 291 – Re-Playing Shakespeare in East Asia.This course investigates how Shakespeare is retold and relived in the Asian theatre vocabulary through examining aesthetic value, cultural and political identify, postcolonial modernity, and spectatorship in theatrical and cinematic interpretations of Shakespeare.
DRAM 292 – “Corner of the Sky”: The American Musical. This course considers the anatomy and diversity of the American musical, exploring its history and aesthetics and employing an interdisciplinary approach to examining and celebrating its shows, sounds, stars, structures, styles, and sensibilities, within the genre’s dominant contexts of Broadway, Hollywood, and Utopia.
DRAM 294 – Arts Criticism. An introduction to the principles of arts criticism through study of the work of a variety of critics, by distinguishing between the nature of criticism and reviewing the arts (both performing and plastic), and through the students’ own practice of critical writing by a means of a series of short essays.
DRAM 297 – African American Women in Theatre.This course examines the lives of African American women through theatre, heightening awareness, understanding, and appreciation of theatre as a tool for social change and eradicating stereotypes. Themes and production aesthetics will be explored in their social and historical contexts.
DRAM 298 – African Women in Theatre. This course will examine the lives and the theatrical contributions of African women through published and unpublished materials, production recordings, and interviews. Through understanding the diverse cultures of the continent, theatre is seen as entertainment and as a tool for effecting social change and healing.
DRAM 300 – Directing– Prerequisite, DRAM 120 or permission of the instructor. Generally limited to majors. An introductory course in the principles of stage directing; analysis for concept, organization of production, and methodology of staging.
DRAM 331 – Playwriting II– Prerequisite, DRAM 231. A practical course in writing for the theatre, taught at an advanced level.
DRAM 350 – Advanced Acting for the Major– Prerequisite, DRAM 250. Permission of instructor for students lacking the prerequisite. Development of the actor’s technique in verse drama with emphasis on scansion and textual analysis as guidelines for actions, characterization, and given circumstances. Scene and monologue work drawn from the works of Shakespeare.
DRAM 393 – Professional Theatre Laboratory– By permission of the department. Individual programs or internship in acting, directing, design, management, and playwriting under the guidance of professional practitioners in conjunction with PlayMakers Repertory Company or other professional theatre organizations. INDEPENDENT STUDY LEARNING CONTRACT
DRAM 460 – Stage Management– By permission of the department. A study of the basic principles and practices of modern stage management.
DRAM 465 – Sound Design– The study of general principles of sound design for the theatre. Theory and application of sound design techniques for the stage, including script analysis, staging concepts, special effects, sound plots, and technology.
DRAM 466 – Scene Design– Permission of the instructor. General principles of visual design as applied to scenery for the theatre. Instruction in standard techniques of planning and rendering scene design.
DRAM 467 – Costume Design I– Permission of the instructor. Studies and practicum in play analysis and costume design for the theatre. Instruction in techniques of planning and rendering costume design.
DRAM 468 – Lighting Design I– Permission of the instructor. General principles of lighting design as applied to the performing arts. Theory and instruction in standard techniques of lighting for the stage.
DRAM 470 – Survey of Costume History– A survey of historic costume forms from ancient Egypt to the present time.
DRAM 473 – Costume Construction I– Permission of the instructor. Beginning instruction in pattern making through flat pattern for theatrical costume.
DRAM 474 – Costume Construction II– Prerequisite, DRAM 473 or permission of the instructor. Beginning instruction in pattern making through draping on a dress form for theatrical costume.
DRAM 475 – Costume History: Africa, Asia, and Arabia– A survey of the traditional costume forms on the African Continent, in Asia (China, Japan, India), and on the Arabian Peninsula.
DRAM 480 – Period Styles for Production– A study of the historical development of Western minor arts and the ramifications of reproducing them for the theatre. Students may not receive credit for both DRAM 280 and 480.
DRAM 484 – Studies in Dramaturgy and Criticism– This seminar seeks to introduce students to the principles of arts criticism through study of the work of a variety of different critics, by distinguishing between the nature of criticism and reviewing the arts, and through the students’ own practice of critical writing.
DRAM 486 – Latin American Theatre– Prerequisite, DRAM 120. This course explores the historical and aesthetic development of Latin American theatre, focusing on particular factors that distinguish this theatre from the Western European tradition.
DRAM 488 – U.S. Latino/a Theatre – Investigation of United States Latino/a theatre texts and performance practices as a discreet genre. U.S. Latino/a theatre will be distinguished from the dominant culture, and diversity of forms and styles discussed.
DRAM 489 – Carnivals and Festivals of the African Diaspora.This course will examine the role of Carnival in the African Diaspora, exploring its history, its many theatrical forms, and its fusion with European and indigenous American cultures. Through examining published and unpublished texts the development of the Carnival will be understood as an expression of freedom and cultural survival.
DRAM 491 – Issues in Arts Management– Arts management issues taught through analysis of case studies. Course includes management theories, organizational structures, and current issues.
DRAM 493 – Theatre Management– Practicum in theatre management procedures and business of the theatre involving box office, audience development, research, publicity, operational, and contract procedures in regard to artists, technicians, managers, and producers. Students actively engage in management areas of the PlayMakers Repertory Company and productions of the Department of Dramatic Art.
DRAM 566 – Advanced Scene Design– Prerequisite, DRAM 466 or permission of the instructor. Advanced study of the principles and practice of designing scenery for the theatre.
DRAM 567 – Costume Design II – Prerequisites, DRAM 467 and permission of the instructor. Practicum in costume design for the theatre, focusing on the requirements of professional theatre production and alternative costume design solutions.
DRAM 586 – Costume Seminars I: Dyeing and Painting– Prerequisites, DRAM 192 and permission of the instructor. Series of topics in costume for use in design and production for the stage. May be repeated for credit for a total of six hours for undergraduates and 12 hours for graduate students. Taught in a four-semester rotation.
DRAM 587 – Costume Seminars II: Millinery and Hair– Permission of the instructor. Advanced costume production techniques with an emphasis on millinery and hair design.
DRAM 588 – Costume Seminars III: Masks and Armor– Permission of the instructor. Advanced costume production techniques with an emphasis on creating masks and armor.
DRAM 589 – Costume Seminars IV: Decorative Arts– Permission of the instructor. Advanced costume production techniques with an emphasis on decorative arts.
DRAM 590 – Advanced Special Topics. The study of a topic in dramaturgy, theatrical design, or theatrical production for advanced undergraduates and graduate students. Content and instructor will vary. May be repeated for credit.
DRAM 650 – Costume Production I: Couture Methods– Prerequisite, DRAM 192. Advanced construction techniques in theatrical costuming with an emphasis on couture methods.
DRAM 666 – Media in Performance – Required preparation, one performance studies course above COMM 400. Permission of the instructor for students lacking the required preparation. Project-based class where students acquire skills and critical approaches to create collaborative, professional, multimedia works.
DRAM 667 – Advanced Costume Design I– Permission of the instructor. Study of costume design for students concentrating in costume production.
DRAM 691H – Required preparation, 3.3 cumulative grade point average and permission of the department. The commencement of a special project (essay or creative endeavor), approved by the department, by a student who has been designated a candidate for undergraduate honors.
DRAM 692H – Honors Project in Dramatic Art. Prerequisite, DRAM 691H. Permission of the department. The completion of a special project by a student who has been designated a candidate for undergraduate honors.
DRAM 697 – Senior Seminar– Close study of the interrelationships between theory and practice in contemporary world theatre, placing developments in their cultural contexts, and exploring current theatrical trends in an international framework.