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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.
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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
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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
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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.
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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,
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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
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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
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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
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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
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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.
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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.
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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.
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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
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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
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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.
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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
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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
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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
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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
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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
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Dept. of Theatre
review.
Projects may
include
performance,
directing,
design,
research, and
creative
writing.
Global Learning Initiatives Page 22
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.
Global Engagement: Students will learn how to analyze, synthesize, and evaluate the
interconnectedness and interdependence of the human experience on a global scale.
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
Global Learning Initiatives Page 23
Dept. of Theatre
Course Analysis – TH 113 – Production Workshop
Course Course # Course Description Enrolment Cap
TH 113 Production Workshop ??
Instructor: Battles, Ellis, Alexander, Parr, Grohs, Yowell, Groves
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.
Global Engagement: Students will learn how to analyze, synthesize, and evaluate the
interconnectedness and interdependence of the human experience on a global scale.
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.
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.
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.
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.
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.
Global Learning Initiatives Page 24
Dept. of Theatre
Course Analysis – TH 122 – Intro to Lighting and Sound Technology
Course Course # Course Description Enrolment Cap
TH 122 Intro to Lighting & Sound Technology 20
Instructor: Ben Alexander
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.
Global Engagement: Students will learn how to analyze, synthesize, and evaluate the
interconnectedness and interdependence of the human experience on a global scale.
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.
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.
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?
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.
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.
Global Learning Initiatives Page 25
Dept. of Theatre
Course Analysis – TH 123 – Stagecraft
Course Course # Course Description Enrolment Cap
TH 123 Stagecraft 16-20
Instructor: Battles, Alexander, Grohs
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.
Global Engagement: Students will learn how to analyze, synthesize, and evaluate the
interconnectedness and interdependence of the human experience on a global scale.
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.
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.
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.
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.
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.
Global Learning Initiatives Page 26
Dept. of Theatre
Course Analysis – TH 133 – Stage Make-up
Course Course # Course Description Enrolment Cap
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
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.
Global Engagement: Students will learn how to analyze, synthesize, and evaluate the
interconnectedness and interdependence of the human experience on a global scale.
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.
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 discuss conservation of materials, the longevity of the stage makeup used in class.
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.
As listed above, we discuss color differences in makeup which are available and designed for
various skin types and colors according to ethnicity.
Global Learning Initiatives Page 27
Dept. of Theatre
Course Analysis – TH 202 – Costume Design
Course Course # Course Description Enrolment Cap
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
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.
Global Engagement: Students will learn how to analyze, synthesize, and evaluate the
interconnectedness and interdependence of the human experience on a global scale.
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.
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 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.
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 discuss diversity as it comes up according to the plays being studied each semester.
Global Learning Initiatives Page 28
Dept. of Theatre
Course Analysis – TH 204 – Basic Scene Design
Course Course # Course Description Enrolment Cap
TH 204 Basic Scenic Design 16
Instructor: Battles
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.
Global Engagement: Students will learn how to analyze, synthesize, and evaluate the
interconnectedness and interdependence of the human experience on a global scale.
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.
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.
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: 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.
“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?
Global Learning Initiatives Page 29
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?
Global Learning Initiatives Page 30
Dept. of Theatre
Course Analysis – TH 235 – Acting II
Course Course #
Th 235
Course Description
Acting II
Enrolment Cap
18
Instructor: Bob Yowell
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.
Global Engagement: Students will learn how to analyze, synthesize, and evaluate the
interconnectedness and interdependence of the human experience on a global scale.
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.
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.
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.
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.
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.
Global Learning Initiatives Page 31
Dept. of Theatre
Course Analysis – TH 263 – Lighting Design
Course Course # Course Description Enrolment Cap
TH 263 Lighting Design 15
Instructor: Ben Alexander
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.
Global Engagement: Students will learn how to analyze, synthesize, and evaluate the
interconnectedness and interdependence of the human experience on a global scale.
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.
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.
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.
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.
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.
Global Learning Initiatives Page 32
Dept. of Theatre
Course Analysis – TH 331 – Theatre History I & TH 341W Theatre History II
Course Course # Course Description Enrolment Cap
TH 331 &
341W
Theatre History I
Theatre History II
30
Instructor: Groves
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.
Global Engagement: Students will learn how to analyze, synthesize, and evaluate the
interconnectedness and interdependence of the human experience on a global scale.
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).
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.
Global Learning Initiatives Page 33
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.
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.
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.
Global Learning Initiatives Page 34
Dept. of Theatre
Course Analysis – TH 352 – Directing 1
Course Course # Course Description Enrolment Cap
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)
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.
Global Engagement: Students will learn how to analyze, synthesize, and evaluate the
interconnectedness and interdependence of the human experience on a global scale.
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.
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.
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.
Global Learning Initiatives Page 35
Dept. of Theatre
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.
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.
Global Learning Initiatives Page 36
Dept. of Theatre
Course Analysis – TH 363 – Stage Management
Course Course # Course Description Enrolment Cap
TH 363 Stage Management 15
Instructor: Ben Alexander
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.
Global Engagement: Students will learn how to analyze, synthesize, and evaluate the
interconnectedness and interdependence of the human experience on a global scale.
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.
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.
This course does not necessarily apply under this heading. I do teach with an eye to moving
toward a paperless 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.
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.
Global Learning Initiatives Page 37
Dept. of Theatre
Course Analysis – TH 490 – Senior Capstone
Course Course # Course Description Enrolment Cap
TH 490C Senior Capstone NA
Instructor: Any faculty member in the department
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.
Global Engagement: Students will learn how to analyze, synthesize, and evaluate the
interconnectedness and interdependence of the human experience on a global scale.
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: 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.
“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: 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.
“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.
Global Learning Initiatives Page 38
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)
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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
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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
Prerequisite: ENG 105 or HON 190 or HON 191
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
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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
Prerequisite: ENG 105 or HON 190 or HON 191
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
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Dept. of Theatre
HUM 351 3 Perspectives on Western Humanities I
Prerequisite: Sophomore Status
HUM 352 3 Perspectives on Western Humanities II
Prerequisite: Sophomore Status
HUM 353 3 Perspectives on Western Humanities III
Prerequisite: Sophomore Status
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
Prerequisite: Sophomore Status
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
Fall 2010 - prerequisite change
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
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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
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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
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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
Prerequisite: Sophomore Status
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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
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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
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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
Fall 2005 - title change
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
Fall 2009 - title change
HIS 241 3 The Development of Europe since 1650
Fall 2009 - title change
HIS 251 (Global) 3 The Making of Modern Asia
HIS 270 3 History of the Ancient Near East Spring 2006 - title change
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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
Fall 2010 - prerequisite change
HUM 395 3 Public Humanities Fall 2005 Prerequisite: Junior Status or
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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
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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
Prerequisite: Sophomore Status
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
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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
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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
The student’s product explored, addressed and/or incorporated (or shows evidence/sensitivity to)
Global Awareness:
1 2 3 4 5
The student’s product explored, addressed and/or incorporated (or shows evidence/sensitivity to)
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)
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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
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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
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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