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UndergraduateHandbook

BachelorofFineArtsinTheatreIn2002StephenHancockreceivedtheOutstandingPublicationCertificateofMerit—AwardedbytheNationalAcademicAdvisingAssociationforThe

DepartmentofTheatre&Dance’sUndergraduatePolicyHandbook.

THEUNIVERSITYOFMEMPHIS

DEPARTMENTOFTHEATRE&DANCE

April2018

ilast

TelephoneNumbers

CollegeofCommunicationandFineArtsDr.AnneHogan,Dean...........................................................................................................................678-2350RyanFisher,AssociateDean..................................................................................................................678-2350LaurieSnyder,AssistanttotheDeanforUndergraduateStudies...........................................................678-2350RikaHudson,UndergraduateGraduationAnalyst...................................................................................678-2350

DepartmentofTheatre&DanceTheatreOffice(TH143)...........................................................................................................................678-2523Faxmachine(TH144)..............................................................................................................................678-1350

ChairHollyLau...................................................................678-2523...........................................hclau@memphis.edu

FacultyJacobAllen................................................................678-2863.........................................jgallen@memphis.eduSarahBrown..............................................................678-2523.....................................sbrown8@memphis.eduStephenHancock......................................................678-2570.....................................shancock@memphis.eduRobertHetherington.................................................678-2523.......................................rhether@memphis.eduAnitaJoLenhart........................................................678-3183......................................alenhart@memphis.eduJillGuytonNee..........................................................678-2815...........................................jgnee@memphis.eduMichaelO’Nele.........................................................678-2564.......................................monele@memphis.eduAnthonyPellecchia...................................................678-3172.......................................pllcchia@memphis.eduBrianJ.Ruggaber......................................................678-3186......................................bjrggber@memphis.eduJohnYorke................................................................678-2523.........................................jyorke@memphis.edu

StaffAliceBerry.................................................................678-3184.......................................aeberry@memphis.eduDelelahBryant........................................................678-2152...................................dabryant@memphis.eduRickMayfield............................................................678-1771.....................................rcmayfld@memphis.eduDeAnnaRowe...........................................................678-3192.........................................drowe@memphis.eduKristinShupe.............................................................678-2523........................................kshupe@memphis.edu

ProductionShopsCostumeShop..........................................................................................................................................678-3192ControlRoom...........................................................................................................................................678-2946SceneShop...............................................................................................................................................678-2954TicketOffice.............................................................................................................................................678-2576Security.................................................................................................................................678-4357(678-HELP)

TableofContentsTheUndergraduateHandbook

Mission,ValuesandGoals.........................................................................................................0StatementofPurpose...............................................................................................................1

TheUniversityofMemphisWelcome...................................................................................................................................2TheTheatreBuilding.................................................................................................................2

CollegeofCommunicationandFineArtsGeneralDescription...................................................................................................................3Dean/AssociateDean..............................................................................................................3AssistanttotheDeanforUndergraduateStudies.....................................................................3UndergraduateGraduationAnalyst..........................................................................................3

DepartmentofTheatreandDanceGeneralDescription...................................................................................................................4BriefHistoryoftheDepartment................................................................................................4Chair..........................................................................................................................................4Faculty.......................................................................................................................................4Staff...........................................................................................................................................7GuestArtists..............................................................................................................................8StudentOrganizations...............................................................................................................8

YourFirstTwoWeeksFirstDayofClasses....................................................................................................................9Attendance................................................................................................................................9BulletinBoards..........................................................................................................................9Auditions...................................................................................................................................9MajorsMeeting.........................................................................................................................9FirstOrganizationalProductionLabMeeting..........................................................................10DockParty...............................................................................................................................10

StudentLifeGeneralDescription.................................................................................................................11Etiquette..................................................................................................................................11AccidentProcedure.................................................................................................................11Safety.......................................................................................................................................11

UndergraduateAdvisingGeneralDescription.................................................................................................................12Theatre/DanceMinor............................................................................................................12

CurriculumPlanGeneralDescription.................................................................................................................13GeneralEducation...................................................................................................................13TheatreCore............................................................................................................................14AreasofConcentration...........................................................................................................14Competencies(DesignandTechnicalProduction)..................................................................14

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Competencies(Performance—ActingEmphasis) .................................................................... 15Competencies(Performance—DanceEmphasis) ..................................................................... 16Competencies(MusicalTheatre) .............................................................................................. 16DirectedStudies ....................................................................................................................... 17

EvaluationGeneralDescription .................................................................................................................. 18StudentEvaluationofTeachingEffectiveness(SETE) .............................................................. 18StudentEvaluation ................................................................................................................... 18Grades ....................................................................................................................................... 18

B.F.A. ProgramGeneralDescription .................................................................................................................. 19AdmissiontotheProgram ........................................................................................................ 19Progression&Retention .......................................................................................................... 21GeneralGuidelines ................................................................................................................... 25ProgramStatusandDemeritSystem ....................................................................................... 27

InternshipGeneralProcedure .................................................................................................................... 29FinalGrade ................................................................................................................................ 30LeightonBallewInternship ....................................................................................................... 30

Conference&AuditionOpportunities ............................................................................................................... 31InstituteofOutdoorDrama ...................................................................................................... 31Mid-AmericaTheatreConference ............................................................................................ 31Mid-WestTheatreAuditions .................................................................................................... 31SoutheasternTheatreConference ........................................................................................... 31TennesseeTheatreAssociation ................................................................................................ 31UnifiedProfessionalTheatreAuditions .................................................................................... 31University/ResidentTheatreAssociation ............................................................................... 32UnitedStatesInstituteforTheatreTechnology ....................................................................... 32

ProductionGeneralDescription .................................................................................................................. 33RequiredInvolvement .............................................................................................................. 33SuggestedInvolvement ............................................................................................................ 34TheFacilities ............................................................................................................................. 34RehearsalEtiquette .................................................................................................................. 34BackstageEtiquette .................................................................................................................. 35InformationandRecommendationsforPerformersRegardingStageMake-Up ..................... 36TheatreSeason ......................................................................................................................... 39

Awards/Enrichment/Scholarships ...................................................................................................................... 39

Graduation ........................................................................................................................................................... 42SeniorExam/IntentiontoGraduate/Certification ................................................................ 42ParticipationinGraduationCeremony ..................................................................................... 42Diploma .................................................................................................................................... 42

TheUndergraduateHandbookMissionStatementToeducatethenextgenerationoftheatreartistsforsuccessfulcareersintheperformingarts,theentertainmentindustryandartseducationandtocontributetotheenrichmentoftheculturalclimateofthecommunity,regionandbeyondasengagedpartners.Centraltothemissionisthebeliefthattheoreticalandpracticalcoursescombinedwithproductionexperiencesandpersonalizedmentorshiparecriticaltotheeducationandtrainingofourstudents.

VisionTocontinuouslycreateadynamic,richenvironmentthatfostersexcellenceinresearch,production,teaching,learning,communityoutreachandcollaboration.

ValuesTheDepartmentofTheatre&Danceembracesthefollowingvaluesinteaching,creativity,researchandservice;integrity,professionalism,innovation,respectandcollegiality.

Theprimarygoalsofthetheatreunitaretoprovide:

• Publiceducationdesignedtoenrichtheintellectualcompetenceandachievementofthepopulaceitservesregionallyandnationally.

• Anacademicenvironmentforeducational,creative,entrepreneurialandscholarlypursuits.• TheatreeducationandtrainingthatcombineaprofessionalfocuswithinaLiberalArts

foundation.• LeadershipandinvolvementintheartisticgrowthofMemphis,thestateofTennesseeand

thenation.• Anavenuededicatedtothediscovery,acquisition,dissemination,andpreservationof

knowledgefortheadvancementofourcommunity.

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TheUndergraduateHandbookStatementofPurposeAsanundergraduateinourB.F.A.program,therearemanyquestionsaboutthedepartment(andperhapsthecollegeanduniversityaswell)thatarenotfoundinotheruniversitypublications.ThepurposeofthisUndergraduateHandbookistobearesourceforyouandtoprovideinformationinastraightforwardmanner.Answersdealingwithquestionsregardingdepartmentanduniversityprocedures,classes,collegiality,andthegenerallifeofanundergraduateinourdepartmentcanbefoundherein.

Therearetwoimportantthingstoremember.First,thisdocument1ismeanttoSUPPLEMENT,notREPLACE,anyofficialuniversitypublication.OfficialuniversitypublicationsnecessaryforasuccessfulmatriculationthatarefoundonlineincludetheUndergraduateCatalog,theStudentHandbook:CodeofStudentRightsandResponsibilities,andtheClassScheduleforeachsemester.Second,forclarificationoradditionalinformation,alwaystalktoyouradvisororanotherfacultymember.Pleaseavoidrelyingonhearsayorthewell-meaningadviceofotherstudents.

Thecommitteecompilingthisbook,aswellasthefaculty-at-large,understandsthatthisdocumentcontainsalotofinformation.Pleaseknowthatthiswasnotdonetointimidateyoubutrathertomakeyourstudentlifehereattheuniversityand,moreimportantly,inthisdepartment,moreenjoyable.Thenextfouryearswillbeanexcitingtimeinyourlife.Asyouprogressthroughtheprogramaccumulatingthenecessarycreditstowardyourdegree,itisourdesiretoseethatyouarechallenged,learnaboutyouremphasistothebestofyourability,andhavepeerstimulation,aswellasfun.

Bestofluckwithyourendeavors,andthanksforchoosingtheDepartmentofTheatreandDanceattheUniversityofMemphis.

1Please note that some information contained in this Handbook may have, in part, been taken from existing documents such as university catalogues, student handbooks, or from the National Association of Schools of Theatre (NAST) guidelines.

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TheUniversityofMemphisWelcomeWelcometotheDepartmentofTheatreandDanceattheUniversityofMemphis.UofMisacomprehensiveurbanuniversitycentrallylocatedinthecityofMemphis,TN,thelargestcityinthestate.Comprisingelevencolleges—theCollegeofArtsandSciences,theFogelmanCollegeofBusinessandEconomics,theCollegeofCommunicationandFineArts,theCollegeofEducation,theHerffCollegeofEngineering,KemmonsWilsonSchoolofHospitalityandResortManagement,theLoewenbergSchoolofNursing,theSchoolofCommunicationSciencesandDisorders,theSchoolofPublicHealth,CecilC.HumphreysSchoolofLaw,andtheUniversityCollege—UofMoffersbaccalaureatedegreesinmorethan250areasofstudy,master’sdegreesin54subjects,anddoctoraldegreesin25disciplines.Withanenrollmentofover20,000students,UofMiscommittedtothescholarlyaccomplishmentsofitsstudentsandfacultyandtotheenhancementofthecommunity,state,andnationthroughprinciplesofacademicintegrity,soundmanagement,andequalopportunity.TheCommissionoftheSouthernAssociationofCollegesandSchoolsaccreditstheUniversity.

MemphisoverlookstheMississippiRiverandiseasilyaccessiblebyInterstates40,240,and55.ThecityishometotheBealeStreetHistoricDistrict,thePeabodyHotel,andtheOrpheumTheatre.Graceland,thehomeofElvisPresley,islocatedhere,asisthenationalheadquartersforFederalExpress.St.JudeChildren’sResearchHospital,aworld-renownedcancerresearchfacility,wasfoundedherebythelatecomedianDannyThomas.TheNationalCivilRightsMuseum,thePinkPalaceMuseum,theMemphisZoo,andtheCenterforSouthernFolklorearealloutstandingattractionsthatalsoeducate.Memphisisamulti-culturalcityofover650,000people,anditsharesitsgovernmentwiththatofShelbyCounty.Hot,humidsummersandrelativelywarmwintersareseparatedbyspectacularspringandfallseasons.Museums,shoppingmalls,restaurants,andtheMemphisPublicLibraryareallwithintwomilesofthisresidentialcampus.

Theatre&DanceBuildingsTheDepartmentofTheatreandDanceislocatedintheTheatreBuildingat3745CentralAvenue(situatedbetweentheArt&CommunicationBuildingandRudiE.ScheidtSchoolofMusicwiththeCommunicationandFineArtsBuildingdirectlybehindit).TheTheatreBuildinghastwofloorsandagroundlevelprovidingspaceforfacultyandgraduatestudentoffices,departmentaloffices,classrooms,rehearsalspaces,threetheatres,andshopspaceforscenicdesign,costumes,andlighting.TheMainstageTheatreisinthecenterofthebuilding.Thereisasmallblackboxtheatreoneachfloor—theStudioTheatreonthefirstfloorandtheLabTheatreonthesecondfloor.Facultyofficesareonthewestsideofthebuildingonthefirstandsecondfloors,whileclassroomsareonthesouthside.Costume,property,andfurniturestoragespacesarealsoonthegroundlevel.TheSceneShopisonthefirstfloorandisequippedwithmoderntechnologies.TheCostumeShopandtheLightingandSoundBootharebothonthesecondfloor.TheCommunicationandFineArtsBuildingisthehomeoftwodancestudios,thelargerofwhichisusedasaperformingspace.DanceperformancesalsotakeplaceattheRoseTheatre,a900-seattheatreclosetotheUniversityCenter.

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CollegeofCommunicationandFineArtsGeneralDescriptionTheCollegeofCommunicationandFineArts(CCFA),foundedin1977,includestheDepartmentsofArchitecture,Art,Communication,Journalism,TheatreandDance,andtheRudiE.ScheidtSchoolofMusic.TheOfficeoftheDeanislocatedonthesecondflooroftheCFABuilding,Room232(678-2350).ForfurtherinformationontheCollege,pleaseconsulttheUndergraduateCatalog.

Dean,CollegeofCommunicationandFineArtsDr. Anne Hogan previously served as the Director of Education at the Royal Academy of Dance, based in London, and as its Senior Advisor for International Partnerships, based in the US. Prior to joining the Royal Academy of Dance, Dr. Hogan was an Associate Dean in the Faculty of Humanities, Arts, Languages, and Education at London Metropolitan University, where she previously held the position of Academic Leader of Performing Arts, Film Studies and Theatre Studies.

Earlier in her career, Dr. Hogan taught in the department of Comparative Literature and English at the American University of Paris, where she later served as the Director of Alumni Relations and Annual Fund Giving, and was the Head of Postgraduate Studies and Research at London Contemporary Dance School. Her publications include Balanchine Then and Now and The Song of the Body: Dance for Lifelong Wellbeing. A former member of the Boston Ballet and Pacific Northwest Ballet, Dr. Hogan holds a BA in English Literature from Harvard University, and an MA and PhD in English Literature from Brown University.

AssociateDeanRyan Fisher, associate professor of Music Education, is in his fifth year at the University of Memphis and recently served as the music education coordinator and associate director of Choral Activities in the Rudi E. Scheidt School of Music. Before coming to the UofM, Dr. Fisher was assistant professor of Music Education at the University of Central Arkansas in Conway, Arkansas, where he received the College of Fine Arts and Communication Faculty Excellence in Research award. Choirs under his direction have been featured at the Arkansas Music Educators Association conference and Tennessee Music Education Association conference and made frequent guest appearances with the Arkansas Symphony Orchestra and Conway Symphony Orchestra.

He also served as the president-elect of the Arkansas Music Educators Association and was a member of the National Association for Music Education-Choral Council. He currently serves on the Tennessee Music Education Association state board, Tennessee American Choral Directors Association state board, and the Update: Applications of Research in Music Education editorial committee. Dr. Fisher is an active choral clinician and researcher. He earned a BME from Lee University, an MM in choral conducting and a PhD in music education from the University of North Texas. In 2016, he was named the Lee University School of Music Distinguished Alumnus of the Year.

AssistanttotheDeanforUndergraduateStudiesLaurieSnyder,M.A.inArtHistory—1989—UniversityofMemphis.HasservedastheAssistanttotheDeanforUndergraduateStudiessinceNovember1996.AgreatresourceforCCFAundergraduatestudents,Laurieisavailabletohelpwithmanyaspectsofyouracademiccareerincludingadvisingtransferstudents,providingguidanceontheacademicaspectsofstudyingabroadandgettinginternships,anddiscussingscholarshipopportunities.

UndergraduateGraduationAnalystRikaHudson,M.A.inRomanceLanguagesandLiteratures,Spanish—2012—UniversityofMemphis.HasservedasGraduationAnalystsinceSeptember2014.AllundergraduateCCFAstudentsarerequiredtohavea

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graduationcheckoutmeetingayearpriortograduationtoensurethatthestudenthasmetalldegreerequirements.

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DepartmentofTheatre&DanceGeneralDescriptionTheDepartmentofTheatreandDanceisafully-accreditedmemberoftheNationalAssociationofSchoolsofTheatre(NAST)andofferstheundergraduatedegreeofBachelorofFineArtswithconcentrationsinPerformance(emphasisinActingorDance),MusicalTheatre,andDesignandTechnicalproduction,aswellastheMasterofFineArtsdegreeinDirecting,CostumeDesign,LightingDesign,ScenicDesign,SoundDesign,andTechnicalDirection.TheDepartment’scurrentChairisHollyLau.Sheandtherestofthefacultyandstaffrunandmaintainadepartmentwithanenrollmentofapproximately120undergraduatestudentsandeighteengraduatestudents.AreaHeadsinthefourundergraduateareasofstudyareJacobAllen(MusicalTheatre),AnitaJoLenhart(Performance),JillGuytonNee(Dance),andMichaelO’Nele(Design/Technical).

BriefHistoryoftheDepartmentTheatrehaditsbeginningsintheEnglishDepartmentin1929,whichmakesusoneofthelongestcontinuallyperformingtheatreorganizationsinthecity.In1949,theDepartmentofSpeechandDramawasorganizedand“dedicatedtopresentthelivingtheatreinworthwhileplaysofpastandpresent.”Thetwo-persondepartmentproducedanddirectedfiveplaysaseasoninadditiontoasummerprogramthatconsistedofafull-lengthplayandaseriesofone-acts.In1952,theDepartmentbeganitscommunityoutreachwithstudentperformancesinschoolsandcivicclubs.Fiveyearslater,thefacultyhadincreasedtothree,andMemphisStateCollegebecameMemphisStateUniversity.In1964-65,anM.A.degreewasfirstoffered,andayearlateranewhomewasestablishedinthepresentbuilding,In1970,theDepartmentproducedthefirstuniversityproductionofthecontroversialmusicalHair.In1973,theM.F.A.degreewasinstituted.TenyearslatertheDanceareawasincorporated;and,in1995,theDepartmentofTheatre&Dancewasestablished.

ChairHollyLau,ChairoftheDepartmentofTheatreandDance,hasbeenaprofessorofdanceandtheatreperformanceattheUniversityofMemphissince1991.Asachoreographer,Lauhasworkedtoexpandtheaudienceformoderndance.In1993shereconstructedTheNegroSpiritualsbyHelenTamiriswhilealsopublishingarticlesonthepoliticsofraceinconjunctionwiththatreconstructionforwhichshereceivedtheSuperiorPerformanceinUniversityResearch(SPUR)award.OthersignificantdanceworksincludePrivateWords,TheHidingofAnneFrank’sDiary,GrandmasinTennisShoes,andTheGardenofTranquility(inaJapanesegarden).Hersoloshow,Transgressions:ThreeInstances,tourednationallyandinternationallyin2003-2004andreceivedtheDean’sCreativeAchievementawardin2006.In2012,ProfessorLauwasawardedtheprestigiousBenjaminW.Rawlins,Jr.MeritoriousProfessorshipAwardrecognizinghersustainedcontributionstoscholarly-creativeactivity,teaching,service,andoutreach.LauiscurrentlyacompanymemberofPlaybackMemphis,aprofessionalimprovisationaltheatreensemble.

FacultyJACOBALLEN,AssistantProfessor,M.Mus.—2009—EastmanSchoolofMusic.HejoinedtheB.F.A.facultyin2010withanemphasisinMusicalTheatre.Asadirector/performerJacobhasworkedthroughouttheMidwestandNewEngland.ProductionsincludeLesMamellesdeTiresias,HelenofTroy,ElCapitan,LittleShopofHorrors,TheLastFiveYears,LaTraviata,TheConsul,Ruddigore,MlleModiste,MerrilyWeRollAlong,AnythingGoes,JekyllandHyde,KissMe,Kate,andTheWinter'sTale.AnadvocateforAmericanLyricTheatreandArtSong,herecentlyperformedinthepremiereofLeeHoiby’sThisistheRillSpeakinganddirectedthefirststageproductionofJakeHeggie’sForaLookoraTouch.HeisfeaturedinmanyrecordingsofearlyAmericanmusicaltheatreandoperettainEnglishtranslationontheAlbanyRecordslabel,andDVDsofhisworkasbothperformeranddirectorareavailablethroughtheAmericanOperettaFoundation.

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SARAHBROWN,AssociateProfessor,M.F.A.—1994—YaleSchoolofDrama.Sarahisanactor,publishedplaywright,director,soloperformer,songwriter,andFulbrightscholar.SheisamemberofActors’EquitywhohasappearedinNewYorkandregionaltheater,aswellasfilmandtelevision,sinceshewassevenyearsold.Ms.BrownhasauthoredtwoplayswithmusicthathavebeenpublishedbySamuelFrench,Inc.,andherplays,publishedandunpublished,havebeenperformedorwork-shoppedinNewYorkattheNYTheatreWorkshop,ThePublicTheater,AmericanPlaceTheatre,AmericanJewishTheatreandtheMirandaTheatreCompany.She’sbeenhonoredtoperformherone-personshowsinboththeregionalUnitedStatesandatinternationalvenues,includingEdinburgh,Glasgow,LondonandIsrael.HersatiricalplayaboutartisticcensorshipduringthereignofQueenElizabethIwasproducedinLondonatTheatre503bythePracticumTheatreCompany.SarahreceivedaFulbrightScholarshiptoteachSoloPerformanceDevelopmentandCommediadell'ArteforayearattheUniversityofHaifa,Israel.Duringthatyearsheexpandedhercreativebordersfromtraditionaltheatretosite-specifictheatreandtheatrewithgiantpuppets.HerfortuitouscollaborationwithIsraeliartiststhenledtoherco-creationanddirectionoftwoprestigiousandsuccessfulsite-specificgiantpuppetshowsinJerusalem,IsraelandIzmir,Turkey.ThroughherlongtimerelationshipwithNewYorktheatreprofessionals,SarahhasenabledtheinternshipsofmanyUniversityofMemphisundergraduatesinaspecialprogramforburgeoningactorsanddirectorsinNewYorkCitycalledSPRINGBOARD-NYC:aprogramsponsoredbytheAmericanTheatreWingtohelpacclimateandprepareyoungtalentforanartisticlifeinthebigcity.

STEPHENW.HANCOCK,AssociateProfessor,M.F.A.—1984—PennStateUniversity.JoinedtheB.F.A.facultyin1998toteachacting,directing,andplaywriting.Histeaching/advisinghonorsincludetheThomasW.BriggsFoundation–ExcellenceinTeachingAwardforexcellenceinundergraduateteaching(2004);theKennedyCenterAmericanCollegeTheatreFestival"OutstandingTeachingArtist(RegionIV)inPlaywriting"(2007),andtheCollegeofCommunicationandFineArtsDean'sFacultyAdvisingAwardfor2002-2003.AsaplaywrighthisworkincludesNoReason,ConversationsinBed,4:00A.M.:RedmondandMeda,TheWriter'sBlock,TheHorroroftheLittleFamilyFarce,Revelations,TheLionessoftheLeopards,andZyrardów.HisplayshavebeenperformedorhadreadingsinNewYorkCity;NewOrleans;Minneapolis;Jackson,MS;Valdez,AK;andTorrington,CT.Hewasrunner-upinthe2005KCACTFCohenPrize;isatwo-timesecond-placewinnerofTheWriter'sDigestMagazineWritingCompetition;andhastwicebeenasemi-finalistintheHumanaFestival10-MinutePlayFestival.TheHorroroftheLittleFamilyFarcewasinvitedtoparticipateinthe2010KCACTF,RegionIVconference.HeisapastparticipantinTheSewaneeWriters'ConferenceandTheEdwardAlbeeLastFrontierTheatreConference.Hehasdirectedover50playsincludingOneMan,TwoGuvnors,TimeStandsStill,ClybournePark,TitusAndronicus,EdwinDrood,IAmMyOwnWife,Company,Chess,AWinter'sTale,andTheComedyofErrors.HehasbeennominatedforBestDirectortentimesintheMemphisTheaterAwardsandwonfourtimes.In2010hereceivedaMeritoriousAchievementAwardforExcellenceinDirectingbytheKCACTFforhisproductionofTheComedyofErrors.In2008,hewasawardedtheAlumniAssociationAwardforDistinguishedAchievementintheCreativeArts.HeisamemberoftheDramatistsGuild,AEAandAFTRA.

ROBERTA.HETHERINGTON,Professor,ABD—1979;MA—1976—NorthwesternUniversity.RobertA.HetheringtonholdsaFaudreeProfessorshipstartingin2015.HehasdegreesfromTheCollegeofWoosterandNorthwesternUniversity.HejoinedtheUniversityofMemphisin1997whereforfifteenyearsheservedasChairoftheDepartmentofTheatre&Danceandcontinuesassupervisorofthegraduatedirectingprogram.Histeachingspecialtiesareintheareasofdirecting,theatrehistory,anddramaticliterature.Hisprofessional

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directingcreditsoutsideofMemphisincludeworkattheStratfordFestivalofCanada,whereheworkedduringfourseasonsandisatwo-timerecipientofaTyroneGuthrieAward;ResidentDirectorforTheHumanRaceTheatreCompanyinDayton,Ohio;ContemporaryAmericanTheatreCompanyinColumbus,Ohio;LaComediaDinnerTheatre;DaytonOpera;andaresidenceatCanada'sShawFestival.HeisaregularguestessayistforthehouseprogramsatShawandStratfordFestivals.InMemphis,BobhasdirectedforPlayhouseontheSquare,CircuitPlayhouse,TheatreWorks,TheatreMemphis,OperaMemphis,andtheMemphisSymphony.HeisamemberoftheSocietyofStageDirectorsandChoreographers(SSDC),thenationaldirectors’union.ANITAJOLENHART,AssociateProfessor,M.F.A.—1985—FloridaStateUniversity.Inaddition,Joholdstwocurrentcertifications:oneinBikramYogateachingandoneinLessacVoiceandBodywork.ShejoinedtheB.F.APerformancefacultyin1987.Teachingfocusesprimarilyonvoiceforthestage,somatics,andacting.AmemberofAEA,sheisanaward-winningsopranosoloist,actress,anddirector.SheholdstheonlyLessacteachingcertificationinTennessee,andherteachingphilosophycanbefoundatwww.lessacinstitute.com.

JILLGUYTONNEE,AssistantProfessor,M.F.A.—2014—JillreceivedherM.F.A.inDancefromTheOhioStateUniversity,andbothB.A.inDanceandB.S.inBusinessManagementfromMeredithCollege.ShejoinedthefacultyasDirectorofDanceatUniversityofMemphisin2014.HermusicaltheatrechoreographiesincludeTheWeddingSinger,Chicago,WestSideStory,TheRobberBridegroom,Seussical,andGuysandDolls.Sheistheco-founderandArtisticDirectorofCJ40Productions,anAmericanContemporaryDanceTheatrecompanythatcelebratesindividuality,humor,andinnatetheatricalityofeverydaylife.Shehasperformed,created,andcollaboratedwithchoreographersSusanHadley,BebeMiller,MelanieBales,DavidDorfman,PamelaPietro,ShaneO’Hara,KatherineFerrier,TalaniTorres,andCarolFinley.Jill’steachingspecialtiesincludejazz,tap,ballet,contemporary,musicaltheatre,modern,choreographyandpedagogy.SheisamemberofCORD,NDA,andNDEO.

MICHAELS.O’NELE,AssociateProfessor,M.F.A.—1998—UniversityofMissouri-KansasCity.MichaelservesastheTechnicalDirector&ProductionManagerfortheDepartment,aswellasactingastheAreaHeadforDesign&Technology.Teachingspecialtiesincludetechnicalproduction,stagecrafts,andproductionmanagement.ProfessionalcreditsincludetheChautauquaInstitutioninChautauqua,NewYork;TheCoterieChildren’sTheatreandTheKansasCityRepertoryTheatre.HeisalsoamemberofUSITT.

ANTHONYPELLECCHIA,AssistantProfessor,M.F.A.—2009—TheOhioStateUniversity.Hejoinedthefacultyin2015andteachescoursesinlighting,sound,portfolio,andmultimediacontrolsystems.Besidesdesigninglightsandsounds,Anthony’screativescholarshipexploresthefusionofcomposition,automation,andprojectionswithliveperformances.Anthony’sprofessionalandacademicworkintheatre,dance,andoperahasreceivedawardsandrecognitionfromvariousorganizationsincludingtheKennedyCenterAmericanCollegeTheatreFestivalRegionV,USITTOhioValley,andUSAWeekender.AnthonypreviouslytaughtattheUniversityofSouthDakotaandisanactivememberofUSITT’slightingcommission.

BRIANRUGGABER,AssistantProfessor,M.F.A.UniversityofMassachusettsatAmherst.Hejoinedthedesignfacultyin2013.Ruggaberhasdesignedover80drama,musical,opera,anddanceproductionsinawidevarietyofprofessionalandacademicvenuesacrosstheU.S.includingTheShakespeareTheatreofNewJersey,TexasShakespeareFestival,BristolRiversideTheatre,Children’sTheatreofCharlotte,NewWorldTheatre,New

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CenturyTheatre,andSleevelessTheatreCo.InadditionhehasbeenaguestdesignerattheUniversityofMassachusettsatAmherst,OhioNorthernUniversity,andtheUniversityofSt.Francis.EighteenofhisscenicdesignshavebeennominatedforawardsandtheMetrolinaTheatreAssociationinNorthCarolinarecognizedhisdesignforCrimesoftheHeartatUNCCharlotteforOutstandingSetDesignbyanacademicinstitution.HeisanactivememberofUSITTandamemberoftheUnitedScenicArtists.

JOHNJ.YORKE,Instructor,M.F.A.—1997—UniversityofMemphis.Anadjunctprofessorsince1997,hejoinedthefacultyfull-timein2002.TeachingspecialtyisIntroductiontoTheatre.Hisdirectingcreditsinclude:MurderontheNile(Germantown),TheTwilightoftheGolds,andPavilion(TheatreMemphis)&TheRobberBridegroom(FindlaySummerStock).

StaffALICERAINEYBERRY—DirectorofPublicity&Promotion-M.F.A.–2012–UniversityofMemphis.Aliceisco-founderandArtisticAdvisorofVoicesoftheSouth.Amongthemanyoriginalproductionsshehasbeenapartofare:theroleofLilyinCicada,theroleofDeweyDellinAsILayDyingwhichwasinvitedtotheInternationalFaulknerConferenceinOxford,Mississippi;theroleoftheMotherintheworldpremiereofTerryTempestWilliams’Refuge:AnUn-naturalHistoryofFamilyandPlaceforwhichshereceivedaMemphisTheatreAward;theroleofMardyMurieinbothPlaceofEnchantmentwhichwasinvitedtoJacksonHole,WyomingandWildLegacywhichwasinvitedtotourthroughoutAlaska.TogetherwithalumJennyMaddensheco-createdthescriptsandstagingforshortstoriestheyperformedattheInternationalFringeFestivalinEdinburgh,Scotlandandmostrecentlyoff-Braodway:ListeningandWhyILiveattheP.0.byEudoraWelty;TheWindowbyEleanorGlaze;andTwentyWillNotComeAgainbyJoanWilliams.SomeofherfavoritedirectingprojectsincludeIt’sAllGreektoMe,OldForestFairyTales,TheArabianNights,FencesandRiverCity.

DELILAHBRYANT–AdministrativeAssociateII,M.M.invoice–2001–UniversityofMemphis.Joemanagesthefinancialandhumanresourcesareasforthedepartment.Beforejoiningthedepartmentin2015,hespenteightyearsasamunicipalbondinvestmentbankerinNewYorkandFlorida,eightyearsastheBusinessOfficerfortheRudiE.ScheidtSchoolofMusic,andfouryearsastheAssociateDeanforAcademicServicesatTheBostonConservatory.

RICKMAYFIELD—AssistantTechnicalDirector,M.F.A.—1996—UniversityofTennessee.HisextensivebackgroundincludesservingasaTD/AssistantProfessor(FloridaStateUniversity),TD/Lecturer(OberlinCollege),TD(DaytonaBeachCommunityCollege),Carpenter(AlabamaShakespeare),andSpecialProjectsCarpenter(SpoletoFestivalUSA).

DEANNAROWE—CostumeShopSupervisor,M.F.A.-TheatreCostumeDesignandTechnologyUniversityofMissouri-KansasCity.DeAnnahasworkedasaCostumeDesigner,Cutter/DraperandCraftsArtisanatnumerousprofessionalandacademictheatrecompaniesthroughouttheUnitedStates.Inadditiontoherprofessionalcareer,DeAnnawasontheCostumeDesignandTechnologyfacultyatAllentownCollegeofSt.FrancisDeSalesandHeadoftheM.F.ACostumeTechnologyprogramatOhioUniversityinAthens,OH.Inhersparetime,DeAnnacontinuestorunherowncostumecommissionbusiness,GypsyDreamStudios.

KRISTINSHUPE—AdministrativeSecretary—BBA—1985—UofM.ShepreviouslyworkedasaLitigationParalegalandastheVolunteer/ProgramCoordinatorfortheMallory-NeelyandMagevneyHouses,whicharepartoftheMemphisMuseumSystem.SheassiststheGraduateCoordinators,theScholarshipChair,andtheAreaHeadforPerformance,and,ofcourse,theatremajors!SheisapainterandamemberofArtists'Link.Sheandherhusband,Dr.DavidDwiggins,whoisafacultymemberintheDepartmentofMathematicalScienceshereattheUofM,have13rescuedcats.

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GuestArtistsThedepartmentregularlysupplementsitscurriculumwithmasterclassesandresidenciesbyguestartistsfromallareasoftheatre.Opportunitiesforexposuretoawiderangeofprofessionalsinthefieldareessentialtobroadeninganddeepeningthetrainingandcareerdevelopmentofourstudents.

EdgarGodineauxChoreographer•TennesseeShakespeareCompanyProducer•DaveDemkeLinklaterSpecialist•DavidJ.DiamondNYCCareerCoach•KeithThompsonChoreographer•MilesPotterDirector•AlvinAileyChoreographer•PeggySchwartzAuthor•NorwegianCruiseLinesAuditions•JessieWrightMartinAlexanderSpecialist•AngeloRâpanConcertPianist/Musicaldirector•AmyQuanbeckActor•AshleyMonizActor•BalletHispanicoDance•KevinCovertChoreographer•RobinSandersDance•DanielMuellerDesigner/VideoTechnician•BruceBuiCostumeDesigner•AdamYakinEsteemedIsraeliNon-TraditionalTheatreArtist•PilobolusDance•ShaneOhmerActor•DariusWallaceActor•TonyHorneActor/Director/Dancer/Choreographer•CharleneA.DonaghyPlaywright•MononaRossolChemist/Artist/IndustrialHygienist•DonaldByrdActor•AdamYakinEsteemedIsraeliNon-TraditionalTheatreArtist•BillT.JonesDanceCompanyDance•RichardCrowellScenicDesigner•ZFXCertifiedRiggersRiggingSpecialists•MargaretEdsonPulitzerPrize-winningPlaywright•KathyBrookfieldDraper•DavidDorfmanChoreographer•CatherineLadnierPlaywright•DaytonContemporaryDanceCompanyDance•MicheleBottiniArtisticDirector/Headof Acting,Commediadell’Arte–Accademiadell’ArteinArezzo,Italy•EmilyWexlerChoreographer•YasuhiroUrataOneofJapan’sleadingNohTheatrePerformers•DennisKrausnickAFounderofShakespeare&Company/Director•ReneeKemperMusicalDirector•DavidDiamondNYCCareerCoach•DouglasGilpinScenicDesigner•ElizabethWichmann-WalczakandJulieA.Iezzi,AsianTheatreScholarsandArtists•CathleenChalfantActress•EllenMcLaughlinPlaywright/Actress•AlanLightmanNovelist/Physicist•A.C.T.O.R.FiveBritishActorsfromtheLondonStage• RoscoeLeeBrowneActor•DixieCarterActress•JohnDyeActor•MelissaGilbertActress•MingChoLeeScenicDesigner•LizLermanDanceExchangeChoreographer•ArthurLessacVoiceSpecialist•ScottMcKowenDesigner•BebeMillerChoreographer•CraigPattersonChoreographer•GiselleMesonChoreographer•LynnPecktalSetDesigner•ClairePorterDance/PerformanceArtist•LarryRileyActor•ShozoSatoDirector•Cybill Shepherd Actress•TedStarkDraper•KathieBrookfieldDraper•RandyLuttermanNYCcasting

StudentOrganizationsTheFredMertzAssociationisopentoallTheatreandDancemajorsandanystudentinterestedinUofMTheatre.Dependingonthecurrentadministration,theorganizationservesavarietyoffunctions:social(picnicsandsoccergames),informational(aconduitfromfacultytostudents),andfundraising(raisingmoneyforscholarshipsoractivities).EachspringtheorganizationproducestheFredMertzAwards,whichisaneveningofcomicskitsthatspoofthepreviousacademicandproductionyear,showcasegraduatingundergraduateandgraduatestudentwork,andpresentationoftheFredMertzAwards.

TheDanceAllianceistheUniversityofMemphisresidentstudentdancecompany.Wesponsorspecialprograms,performances,andmasterclassesbyguestartists,teachers,andvisitingdancecompanies.Asamember,youwillbeabletoworkcloselywithvisitingdancecompanies,participateinavarietyofmasterclasses,summerclasses,andspringperformances.

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YourFirstTwoWeeksFirstDayofClassesFallSemesterclassestraditionallybeginthelastMondayinAugust,whilethoseintheSpringSemesterstartinJanuaryontheThursdaybeforeMartinLutherKingDayorthefollowingTuesday.

Parkingcanbeproblematic,especiallythefirstthree-to-fourweeksofeachsemester,soplanaccordinglysoasnottoarrivelateforclass.

MWFclassesareusuallyfifty-fiveminutesinlengthandtypicallybeginat8:00,9:10,10:20,and11:30.MWandTRclassesareusuallyanhourandtwenty-fiveminuteseach(manyperformance-basedclassesaretwohours).TheMWtimesaretypically12:40and2:20,whiletheTRtimesaretypically9:40,11:20,1:00,and2:40.Thereisafifteen-minutebreakbetweeneachclasstoallowtimetogetfromonetothenext.

AttendanceAttendanceatallclassmeetingsisimportantandbeingontimeisexpected.Pleasenotethateachinstructorinthedepartment(aswellasintheuniversityasawhole)hashis/herownpolicywithregardtopenaltiesforabsencesandtardiness.Itisthestudent’sresponsibilitytolearnandcomplywiththesepolicies.

BulletinBoardsSeveralbulletinboardshavebeensetasidethroughouttheTheatreandCFAbuildingstoserveascommunicationlinksinordertogetinformationouttostudents.Pleasemakeitaprioritytoconsulttheseboardsonaregularbasis.

TheatreBuilding

• TheProductionNoticeboardinthefrontLobbybyTH145• TheFredMertzAssociationboard(onaneaselinthefrontlobby)• TheMessagesboardintheTHhallwayleadingtotheStudioTheatre.• TheProductionNotesboardnexttotheSceneShop

CFABuilding

• DancersusethebulletinboardinthehallwayoftheCFABuildingbetweentheDanceStudios(Rooms124and126).

AuditionsAsatheatremajorwithanemphasisinMusicalTheatreorPerformance(oraminorintheatreordance),oneoftheprimaryareasofinterestwillprobablybeinformationregardingupcomingauditionsthroughoutthesemester(andyear).Inanygivensemester,thereareampleperformanceopportunitiesthroughMainstage,DanceSpace,StudioTheatre,andLunchboxproductionsthatyouwillnotwanttomiss.Consultthevariousbulletinboardsforthemostcurrentinformation.

MajorsMeetingAtthebeginningofeachacademicyear,aMajorsMeeting—forallmajors—takesplaceintheMainstageTheatre.Attendanceismandatory.(ThisusuallyhappensthefirstTuesdayofthesemesterat1:30p.m.)Thisistheonetimeintheyearwhenallmajors—theatreanddesign,graduateandundergraduate—cometogetherinoneplacetomeeteachother,thefacultyandstaff,andhearimportantannouncementsconcerningthecomingyear.

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AseparatemeetingwithallmajorsinB.F.A.PerformanceandMusicalTheatreconcentrationsisalsoscheduledduringthefirstweeksofclasses.Thetime/locationofthemeetingwillbeannouncedatthefirstMajorsMeetingandontheFredMertzboardandProductionNoticeboardinthelobbyoftheTheatreBuilding.

FirstOrganizationalProductionLabMeetingAt2:40p.m.onthefirstTuesdayofclasses,followingtheMajorsMeeting,anorganizationalmeetingforallundergraduatestudentstakingProductionLabsisheld.Studentsareseparatedbyindividuallabassignments—Publicity,Scenery,Costumes,Lighting,Sound,Dance,andStageManagement—wherefacultymembersorgraduatestudentsupervisorsexplaintheexpectationsandresponsibilitiesrequiredbyeachlab.Ascheduleorplanisworkedoutbetweenthestudentandtheinstructorwherebythe50-hourminimumworkloadcanbeaccomplished.

“DockParty”Ataround4:00p.m.onthedayoftheMajorsMeetingandthefirstorganizationalProductionLabMeeting,a“DockParty”isoftenheldintheStudioTheatreoronstageoftheMainstageTheatre.ThepartygetsitsnamefromtheloadingdockintheSceneShop.Thisisanexcellentopportunityfornewstudentstomeetandgettoknowcurrentmajorsandfacultyandstaffmembersinaninformalsetting.

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StudentLifeDescriptionCollegeisoneofthebusiestperiodsinone’slife.Therearemorethingstodoherethananysinglepersoncouldeveraccomplish.Itisveryeasytogetinoveryourhead.Sotakeitslowanddon’toverextendyourself.Therearealwaysfaculty,friends,andpeerswillingtohelpifyouneedit.Thelifeofatheatreartistisoftenverydifferentfromotherdisciplines.Weworklonghours,latehours,weirdhours,andsometimejusttoomanyhours.Remembertosaveafewmomentsforyourself.Factortimeintoyourweeklyscheduletonurtureyourcreativity;giveyourselfanhourortwoeachweektobreathe;sit,relax,watchotherpeople,orwhateverclearsyourmind.Mostimportantly,taketimetoeatandstayhealthy.Tryingtoworkwhileyou’resickisbadenoughifyouarejusttakingclasses;butifyouaretakingclasses,workingonashow,anddoingaworkstudyjob,beingsickisasbadasitgets.Preventionisalwaysthebestmethod.

EtiquetteBecourteoustoyourpeers.Collegeisaboutlearningandhavingfun(nottheotherwayaround).Itisdifficulttolearnwhensomeoneinaclassisdistractingyourattention.Commondistractionslikecellphonesandotherelectronicsshouldbeturnedoffsothattheywon’tsurpriseanyone.Beontime!Latearrivalsarethebiggestdistraction,andpersistenttardinessoftenwillaffectyourgrade.

AccidentProcedureIfthereisanaccidentintheTheatreBuilding,findafacultymemberassoonaspossible,andtheywillcallCampusPolice,notifytheDepartmentSafetyOfficer,and/orfilloutanAccidentReportform.Ifthereisanemergency,dialHELP(4357)onanycampusphoneorpickuptheredemergencyphoneinthelobbyoranyemergencyphoneoncampus(denotedbybluelight).

SafetyTheUniversityofMemphisisanurbancampus.Ifyouseesomeonesuspicious,reportthistoafacultymemberorcampuspolice.CampuspoliceorTigerPatrolwillprovideanescortifyoufeelunsafewalkingtoyourcar.Keepyourbelongingswithyouatalltimesandremainawareofyoursurroundings.Doingsoshouldserveyouwell.

Sincerehearsalscangolateatnight,afterwards,allstudentsareadvisedtowalktotheparkinglotsorthroughcampustotheirdormsingroups,pairs,orwithanescort.

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UndergraduateAdvisingGeneralDescriptionUponadmissiontotheUniversity,everyincomingstudentisassignedanadvisoringeneralAcademicCounseling.Mosttheatrestudents,however,havedeclaredtheirmajor(andconcentration)intheapplication/auditionprocessand,ifacceptedintothedepartment,areassignedaspecificfacultyadvisorwithintheDepartmentofTheatreandDance.ItisinthebestinterestofanystudentwhowishestodeclareatheatremajortoscheduleanentranceauditionorportfolioreviewassoonaspossibleandpromptlybeginaPlanofStudywithatheatreadvisorwithintheDepartmentratherthanrelyonastaffmemberinAcademicCounseling.

IncomingFreshmenwhopre-registerduringoneofthesummertermsshouldnotethatthepersonwhoadvisesyouatthattimemaynotbetheassignedadvisorwhowilleventuallyworkwithyouduringyourfour-yeartenureinthisprogram.

Atthisfirstadvisingsession,thestudentwillbegivenaPlanofStudyandaCourseSequencethatoutlinestheclassesneededtosuccessfullycompletethedegreeprogramandwillbeadvisedforhis/herfirstsemester.TheuniversitynolongerpublishesScheduleofClassbooklets,soinformationpertainingtoclassschedulesisnowfoundonmyMemphisontheUofMhomepage.

Thereafter,studentswillbemadeawareoftheadvisingperiods.Atthattime,itistheindividual’sresponsibilitytomakeanappointmenttomeetwithhis/heradvisorforabriefsessiontoassesshis/herprogressandplanthecourseworkforthenextsemester.Studentsmustcometothesesessionsontimeandprepared—thatis,withacompletedclassscheduleinmind.Itisalsothestudent’sresponsibilitytokeepanaccurate,up-to-datecopyofhis/herPlanofStudy.ThestudentwillfindUMDegree,availableinmyMemphis,tobeaninvaluabletoolfortrackingprogresswithinone’sPlanofStudy.ThestudentwillberesponsibleformakingsuretheirtheatreconcentrationislistedcorrectlyinUMDegree.Asalways,facultytheatreadvisorsarestandingbytohelptheirindividualadviseeswithalloftheseconcerns.

Anypertinentcontactinformation(e.g.telephonenumbersoraddresses)thathaschangedsincethelastadvisingsessionshouldbeupdatedonaMajor’sInformationFormwiththeMainOffice,TH143.

Pleasenote:Sincepoliciespertainingtograduationcanchangeduringastudent’stenureasanundergraduate,knowthattheUniversity’sUndergraduateCatalogfortheyearinwhichthestudentwasadmittedintotheprogramservesastheofficialcontractbetweenthestudentandthisinstitution.

Theatre/DanceMinorAnystudentwishingtominorinTheatreorDanceintheDepartmentofTheatreandDanceshouldvisitthemaintheatreoffice,TH143.TheretheywillbeinstructedonhowtodeclareaminorinTheatreorDanceandwillbeassignedadepartmentaladvisor.Theminormustconsistofatleasteighteenhoursofapprovedcoursework,nineofwhichmustbeupperdivision.CourseworkforallminorswillbedeterminedbythestudentinconferencewiththeadvisorandapprovedbytheDepartmentChair.

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CurriculumPlanGeneralDescriptionTosuccessfullyqualifyfortheB.F.A.degree,astudentmustcompleteaminimumof120semesterhours.Thecredithourbreakdownisasfollows:GeneralEducationrequirements(41),TheatreandDanceCorecourses(22)andtheremainingconcentrationclassesandfreeelectives(57).Atleast42hoursmustbeupperdivision(3000and4000level).

PleaseconsultyourUndergraduateCatalogforamorecompleteexplanation.

Inordertocontinueintheprogram,astudentmustmaintainanoverallgradepointaverageof2.0.AminimumgradeofC-isrequiredinallTheatreandDancecoursesapplicabletothemajor.AnygradelowerthanaC-willrequirethestudenttoretakethecourse.

GeneralEducationThegeneraleducationprogramisthepartoftheundergraduatecurriculumthatpromotesacommonbackgroundforallbaccalaureatecandidates.Theareasinclude:

Communication(9)EnglishComposition(6)OralCommunication(3)

FineArtsandHumanities(9)EnglishLiterature(3)IntroductiontoTheatre(3)TheatreHistory(3)

History(6)Science(14)

SocialScience(6)NaturalScience(8)

Mathematics(3)*

*Ifastudenthasnevertakenacollege-levelmathcourse,he/shemusttaketheALEKSplacementexaminationinordertobestdeterminewhichcoursefitshis/herabilitiesandneeds.

BasicCompetenciesinGeneralStudies

1. Theabilitytothink,speak,andwriteclearlyandeffectively.StudentswhoearntheirBachelorofFineArtsdegreesmustbeabletocommunicatewithprecision,cogency,andforce.

2. Aninformedacquaintancewiththemathematicalandexperimentalmethodsofthephysicalandbiologicalsciences;withthemainformsofanalysisandthehistoricalandquantitativetechniquesneededforinvestigatingtheworkingsanddevelopmentofmodernsociety.

3. Anawarenessofotherculturesandothertimes.4. Someunderstandingofandexperienceinthinkingaboutmoralandethicalproblems.5. Thedevelopmentofvaluejudgmentsandtheabilitytoperceiveandexposefallaciousreasoning.6. Thecapacitytoexplainanddefendone'sviewseffectivelyandrationally.7. Someunderstandingofandexperienceinartformsotherthantheatre.

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TheatreCoreTheatreandDanceCoreCourses(22hours)InorderforourDepartmenttopreparestudentsforprofessional,community,oracademictheatres,asignificantsectionoftheirstudieshasbeenselectedtoprovideacommongroundforallpotentialtheatreartists.TheCoreCoursesexpandthestudent’screativepowersanddeepenthecommitmentandappreciationoftheartoftheatre.Theseclasseswerechosentoenableeachstudenttolearnandpracticeareasoftheatreinwhichtheyarenotfamiliar,outsideoftheirchosenareaofspecialization.Insightandappreciationoftheartandcraftoftheotherareasofspecializationbuildacommonvocabularyforallstudentsnecessaryforstudentsoftheatreanddance.ThesharedcoursesthatarerequiredofallB.F.A.studentsare:

• THEA1561—IntroductiontoDesign(3)OR• THEA2511—IntrotoTechnicalProduction(3)

• THEA2531—PerformanceFundamentals(3)• THEA3600—ProductionLaboratories(4)• THEA4541—Internship(3)

AreasofConcentrationThemajorityofhoursthatyoutaketosuccessfullyfulfilltherequirementsoftheB.F.A.degreearethoseclassesinyourareaofconcentration(performance,musicaltheatre,dance,ordesignandtechnicalproduction).Beawareofthecoursesequencesinyourareaofconcentrationandknowthatsomeclassesareonlyofferedeverytwoyears.

CompetenciesBachelorofFineArtsDegreeinDESIGN&TECHNICALPRODUCTIONTheBachelorofFineArtsdesigner/technicianshouldleaveafterfouryearswithanadequateportfoliotosubmitforconsiderationforprofessionalemploymentorforadmissiontoaMasterofFineArtsprogram.

1. Knowledgeofthehistoryofdecor(furniture,decorativearts,andarchitecture,includingtheatre

architecture)asitmaybeusedintheatre.

2. Knowledgeofthehistoryofcostumesandtextiles,includingtheatricalcostumesasappliedtotheatre.

3. Freehanddrawing.

4. Technicaldrawing:projectiondrawing,mechanicaldrafting,andtheadaptationofthese

techniquestoscenicandtechnicaldrawingforthetheatre(floorplans,technicalelevations,painter’selevations,perspectivedrawingforsceneplates).

5. Studyofcolorandcontrolofthesepropertiesforaestheticuse.

6. Studiesintheprinciplesoftwo-dimensionalandthree-dimensionaldesignaesthetics(practical

problemsusingallcolormediumsandincludingparticularexposuretorepeatpatterns,abstracts,andsculpting,inclay,plaster,polystyrenefoam,metalwelding,andsculptingforcastinginplaster,resins,metal).

7. Workinmanyrenderingmediaincludinginks,watercolor,pastels,acrylics,andcharcoal.

8. Oncompletionofdegreework,eachstudentshouldhavedevelopedaprofessionalrésuméanda

portfolioofdesignworkinallareas.

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9. Inadditiontothebasiccompetencieslistedabove,eachstudentwilldevelopselectedcompetenciesrequiredforthespecificDesign/Technologicalemphasisorprogramthathe/shepursues,i.e.,CostumeDesign,ScenicDesign,LightingDesign,TechnicalDirectionorStageManagement.

10. Internship(SeeInternshipsection.)

NOTE:ItisunderstoodthatstudentsgraduatingwithaBachelorofFineArtsinDesignandTechnicalProductionwillhavehadanopportunitytodesignatleastonefully-realizedproductionintheareaoftheirspecialty.

BachelorofFineArtsDegreeinPerformance(ActingEmphasis)TheBachelorofFineArtsperformershouldleaveafterfouryearswithadequatetrainingandabilitytoauditionforprofessionalemploymentorforadmissiontoaMasterofFineArtsprogram.

1. Demonstratedabilitytoact,i.e.,toprojectone'sselfbelievablyinwordandactionintoimaginary

circumstances,evokedimprovisationallyorthroughtext.

2. Demonstratedabilitytoengageeffectivelyinimprovisationsbothbyoneselfandinanensemble.

3. Demonstratedabilitytocharacterizeconvincinglyfromplaysdrawnfromdifferentgenresandstylesinanensemblerelationshipwithotheractors.

4. Adevelopedtechniqueforanalyzingthespecifictasksrequiredinperformingvariedcharacters

fromwrittenplays.

5. Clearandarticulatespeechwithabsenceofregionalism;togetherwithdemonstratedabilitytousetheInternationalPhoneticAlphabet(IPA)tolearnandperformforeigndialects;demonstratedabilitytoanalyzeandscanversedramaandtoperformconvincinglyinverseplays.

6. Flexible,strong,andcontrolledvoicewithtrainedbreathsupport;appropriatevocalrangeand

freedomfromvocaltensioninrehearsalandperformance(andposturaltensions);demonstratedabilitytousethevoiceeffectivelyasaninstrumentforcharacterizationtogetherwiththeabilitytoprojectthevoiceeffectivelyindifferentsizetheatrespaces.

7. Flexible,relaxed,andcontrolledbodytrainedinbasicstagemovementdiscipline,includingmime

anddance;demonstratedabilitytousethebodyeffectivelyonstageasaninstrumentforcharacterizationandtoberesponsivetochangingtime/rhythmdemandsandspecialrelationships.

8. Thoroughcommandofmake-upmaterialsandoftheabilitytoapplyone'sownmake-upfora

varietyofcharacters;demonstratedabilitytousehair,rubber,orlatexaseffectiveaidsforstagecharacterization.

9. Understandingofthespecificdemandsofactinginplaysofeachmajorperiodandgenreof

dramaticliterature.

10. Demonstratedcomprehensionofthebasicbusinessproceduresoftheactor'sprofession.


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BachelorofFineArtsDegreeinPerformance(DanceEmphasis)TheBachelorofFineArtsdancershouldleaveafterfouryearswithadequatetrainingandabilitytoauditionforprofessionalemploymentorforadmissiontoaMasterofFineArtsprogram.

1. Demonstrateahighleveloftechnicalskillinatleastoneareaofperformance.

2. Achieveahighlevelofconceptualunderstandingofthemediumanditsexpressivepossibilities.

3. Haveafundamentalknowledgeofthebodyandkinesiology.

4. Demonstratebasicknowledgeandskillsindancepedagogy.

5. Demonstratebasicknowledgeandskillsinchoreographyanddevelopchoreographicpotentialin

studiesthatincludetraditionaland/orexperimentalapproaches.

6. Beabletoplacedanceinhistorical,culturalandstylisticcontexts.

7. Developanunderstandingofthecommonelementsandvocabularyandtheinteractionoftheseelementsandtobeabletoemploythisknowledgeinanalysisofdance.

8. Developtheabilitytoformanddefendanalysesandcritiquesofdanceandtocommunicatedance

ideas,concepts,andrequirementstoprofessionalsandlaypersonsrelatedtopracticeofthemajorfield.

9. Learntoanalyzedanceperceptivelyandtoevaluatecritically.

10. Beabletoformanddefendindividualcritiques.

BachelorofFineArtsDegreeinMusicalTheatreTheBachelorofFineArtsmusicaltheatreperformershouldleaveafterfouryearswithadequatetrainingandabilitytoauditionforprofessionalemploymentorforadmissiontoaMasterofFineArtsprogram.

1. Demonstratedabilitytoact,i.e.,toprojectone'sselfbelievablyinwordandactionintoimaginary

circumstances,evokedimprovisationallyorthroughtext.

2. Demonstratedabilityinbasicmusicalskillsincludingvoiceperformance,musicianship,sight-singing,andmusictheory.

3. Demonstratedabilityindanceskillsasappropriatetomusicaltheatre.

4. Demonstratedabilitytoengageeffectivelyinimprovisationsbothbyoneselfandinanensemble.

5. Demonstratedabilitytocharacterizeconvincinglyfromplaysdrawnfromallofthelyrictheatre

traditionandstylesinanensemblerelationshipwithotherperformers.

6. Adevelopedtechniqueforanalyzingthespecifictasksrequiredinperformingvariedcharacters.

7. Clearandarticulatespeechwithabsenceofregionalism;togetherwithdemonstratedabilitytousetheInternationalPhoneticAlphabettolearnandperformforeigndialects;demonstratedabilitytoanalyzeandscanversedramaandtoperformconvincinglyinverseplays.

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8. Flexible,strong,andcontrolledvoicewithtrainedbreathsupport;appropriatevocalrangeandfreedomfromvocaltensioninrehearsalandperformance(andposturaltensions);demonstratedabilitytousethevoiceeffectivelyasasingerandasaninstrumentforcharacterizationtogetherwiththeabilitytoprojectthevoiceeffectivelyindifferentsizetheatrespaces.

9. Flexible,relaxed,andcontrolledbodytrainedinbasicstagemovementdiscipline,includingmime

anddance;demonstratedabilitytousethebodyeffectivelyonstageasaninstrumentforcharacterizationandtoberesponsivetochangingtime/rhythmdemandsandspecialrelationships.

10. Thoroughcommandofmake-upmaterialsandoftheabilitytoapplyone'sownmake-upfora

varietyofcharacters;demonstratedabilitytousehair,rubber,orlatexaseffectiveaidsforstagecharacterization.

11. Understandingofthespecificdemandsofperforminginmusicalsofeachmajorperiodandgenreof

thelyrictheatre.

12. Demonstratedcomprehensionofthebasicbusinessproceduresoftheactor'sprofession.


DirectedStudiesTheadvancedstudentmayelecttocreateaDirectedIndividualStudiesinTheatreorDance(THEA4553orDANC4301).

TheProcedure:(1)Decideonatopic.(2)Findaninstructorwillingtosuperviseortutorthedirectedstudiesproject.(3)Developaplanofstudyoutliningthenatureofthedirectedstudies,whattheexpectationswillbe,thetimecommitment,andhowtheclasswillbeevaluated.ThestudentandfacultymembermustsignthedocumentandfileitintheTheatreOfficeduringtheadvisingsessionoftheprevioussemester.Failuretodosowillresultinadministrativewithdrawalfromthecourse.

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EvaluationGeneralDescriptionInordertomaintainhighstandards,theB.F.A.degreeprogramregularlyutilizesseveraltoolsforevaluatingtheeffectivenessofbothstudentandteacherperformance.Itisimportantthateveryoneinvolvedapproachtheevaluationprocesswithseriousnessandthoughtfulness.

SETEStudentEvaluationofTeaching:Asastudent,youhaveanopportunitytocommentonandevaluateyourcoursesandteachersonlinethroughtheStudentEvaluationofTeachingEffectiveness(SETE)neartheendofeachsemester.Attheappropriatetime,youwillreceiveanemailfromtheProvost’sofficegivingyouthedateswhentheonlineevaluationsareopen.Thestudentratingandcommentsarecompletelyanonymous.Writtenevaluationisanimportantaspectofthecontinuingdialoguebetweenyouandyourinstructors,andtheUniversityandDepartmentfeelyourinputisveryimportant.Facultywillbegiveninformationgainedfromtheevaluationsonlyafterfinalgradesaresubmitted.Thesedocumentsareanimportantpartofeachfacultymember'sdossier.

StudentEvaluationFacultyEvaluationofStudents:TheB.F.A.degreeisdesignedtodeveloptheatreprofessionalsintheareasofmusicaltheatre,dance,performance,anddesignandtechnicalproduction.Therefore,asystemofevaluatingeachstudent'sprogressinhis/herconcentrationhasbeendeveloped.TheB.F.A.Exam/portfolioreviewissetuplikeaprofessionalauditionandallowsforanin-depthlookateachstudent'screativework.Inaddition,theauditionisfollowedbyaninterviewwiththefacultymembers.FurtherinformationontheB.F.A.Exam/portfolioreviewcanbefoundlaterinthisdocumentundertheheadingTheExam/Portfolio.

GradesAnimportantdocumentineachclassisthesyllabusprovidedbytheinstructor.Thisisthecontractthestudentandteacheragreeonforthedurationofthecourseandincludesthecontent,assignments,expectations,evaluationcriteria,andabsencepolicy.Atthecompletionofthecourse,thestudentwillreceivealettergrade(A,B,C,D,orF).BeginningintheFallSemesterof2000,aplus/minusoption(A+,A,A-,B+,B,B-,etc.)wentintoeffect.

EachstudentmustreceiveaminimumgradeofC-inanyrequiredmajorcourse,orrepeatthecourse.

SpecialCircumstances:Addanddrop(withdrawal)dates:theUniversityhasstrictpoliciesontheaddinganddroppingofclasses.PleaseconsulttheRegistrar’swebsitefortheadd/dropdeadlines.

OnIncompletes:Ifyou,forsomevalidreason,areunabletocompletetherequiredcourseworkwithinthetimeallotted,yourinstructormayagreetoassignagradeofIncomplete.Inthatcase,youareexpectedtocompleteallrequirementswithinsixweeksfollowingtheendofthatsemester.

OnCourseRepetition:Mostclassescanberepeatedinordertoreplaceanunsatisfactorygrade.

OnGradeAppeals:TheappealprocedureisdesignedtoprovideanyundergraduateattheUniversityofMemphiswithaclearlydefinedavenueforappealingtheassignmentofacoursegradewhichthestudentbelieveswasbasedonprejudice,discrimination,arbitraryorcapriciousaction,orotherreasonsnotrelatedtoacademicperformance.Inallcasesthecomplainingstudentshallhavetheburdenofproofwithrespecttotheallegationsinthecomplaintandintherequestforahearing.Informationongradeappealscanbefoundat:http://www.memphis.edu/ugcatalog/acad_reg/ug_grade_appeal.php

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BachelorofFineArts(B.F.A.)DegreeinTheatre

GeneralDescriptionTheBachelorofFineArts(B.F.A.)Degreeisaprogramspecificallydesignedforstudentswhoseinterestsandabilitiesstronglysuggestpotentialforpursuingcareersasartistsintheresident,professional,community,oracademictheatre.ByenrollinginourprogramyouhaveelectedtocompletethenecessarycreditstoearnaB.F.A.degreeintheatrefromtheDepartmentofTheatreandDancewithaconcentrationinDesignandTechnicalProduction,Performance(ActingorDance),orMusicalTheatre.

AdmissiontotheProgram:PerformanceConcentration(ActingEmphasis)AdmissiontotheB.F.A.inTheatreforPerformance(ActingEmphasis)iscontingentuponsuccessfuladmittancetotheUniversityofMemphis.However,studentsinterestedinthePerformanceConcentrationortheMusicalTheatreConcentrationmustalsoauditiontobeadmitted.StudentsinterestedinauditioningforadmittanceintotheseconcentrationscanlearnmoreaboutauditionrequirementsbycontactingtheTheatreOfficeat(901)678-2523.

TransferofCredit:Incertaincases,studentsmaybeadmittedtoanadvancedleveloftheB.F.A.program.Suchadmissionwillbebasedupon:(1)anauditionandinterview;(2)thestudent’spreviouscourseworkintheatre,particularlyintheareaofspecialinterest;(3)thestudent’spreviousinvolvementinproductionexperience;and(4)lettersofrecommendationfromformerTheatreArtsinstructorsand/ordirectors.Evenifadmittedtoanadvancedstanding,thestudentwillberequiredtoremedypreviouscoursedeficiencies.

AuditionsPerformanceConcentration/ActingEmphasisEntrancetotheB.F.A.PerformanceConcentrationisthroughauditiononly.TheentranceauditionsareofferedinNovemberandintheSpringSemesterandareavailablebothtoprospectivefreshmanaswellascurrentUniversityofMemphisstudents.Theauditionevaluatesstudents’abilitiesinacting,commandoflanguage,bodyawareness,andabilitytotakedirection.Spaceintheconcentrationislimitedandwillbegiventostudentswhobestexhibitpotentialfordevelopmentinthefieldbasedontheaudition.Whilemoststudentsareadmittedintotheconcentrationpriortothefreshmanyear,equalconsiderationforadmissionwillbegiventocurrentUniversityofMemphisstudents.UofMstudentscurrentlypursuinganothermajorareencouragedtoseektheadviceoftheiradvisoraswellasamemberofthePerformancefacultybeforeauditioningtoentertheB.F.A.Performanceconcentration.

Fortheentranceexam,studentsshouldprepare:● Oneshortmonologuefromaplaynottoexceedtwominutes.Themonologuemustbememorizedand

shouldbeperformedinthecontextoftheentireplay.Theemphasisisonsimplereality.Thoughnotrequired,studentsmaybringadditionalmonologuestotheaudition,whichmaybeseenatthediscretionofthefaculty.

Suggestionsfortheaudition:● Choosemonologuesthatareappropriateforyourageandexperience.Beabletodiscusstheplayasa

whole.Itisbesttoselectmonologuesfromplays,asopposedtospecialmaterialwrittenformonologuebooks.Avoidhistoricstyles,suchasShakespeare,andverseorpoetry.Avoiddialects.Usegoodjudgmentinselectingthemonologues,avoidingpiecesthatmaybeinappropriatebecauseoflanguageorsituation.

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PerformanceConcentration/DanceEmphasisStudentspursuingtheDanceEmphasisarenotrequiredtoaudition.Studentswillbeevaluatedeachsemesterbyfaculty.Theevaluationwillassesscommitment,professionalbehavior,andprogressindancestudies.

AdmissiontotheProgram:MusicalTheatreEntrancetotheMusicalTheatreconcentrationisthroughauditiononly.TheentranceauditionsareofferedintheSpringSemesterandareavailablebothtoprospectivefreshmanaswellascurrentUniversityofMemphisstudents.Theauditioniscomprehensiveandevaluatesstudents’abilitiesinsinging,acting,anddance.Spaceintheconcentrationislimitedandwillbegiventostudentswhobestexhibitpotentialfordevelopmentinthefieldbasedontheaudition.WhilemoststudentsareadmittedintotheconcentrationpriortothefreshmanyearequalconsiderationforadmissionwillbegiventocurrentUniversityofMemphisstudents.CurrentstudentsareencouragedtoseektheadviceoftheiradvisoraswellastheMusicalTheatrefacultybeforeauditioningtoenterthemusicaltheatreconcentration.

Fortheentranceexamstudentsshouldprepare:● Oneshortmonologuefromaplaynottoexceedtwominutes.Themonologuemustbememorizedand

shouldbeperformedinthecontextoftheentireplay.Theemphasisisonsimplereality.Thoughnotrequired,studentsmaybringadditionalmonologuestotheaudition,whichmaybeseenatthediscretionofthefaculty.

● Onesongfromthestandardmusicaltheatrerepertoire.Thesongmustbememorizedandshouldbe

performedinthecontextoftheentireshow.Anaccompanistwillbeprovided.Studentsmaybringtheirownaccompanistbutnorecordedaccompanimentwillbepermittedandstudentsmaynotsingacappella.Thoughnotrequired,studentsmaybringadditionalsongstotheaudition,whichmaybeheardatthediscretionofthefaculty.Studentsmayalsobeaskedtodosomeshort,pitch-matchingexercises.

● Adanceauditionwillberequired,whichwillconsistofashortballetclassattheconclusionofwhicha

musicaltheatrecombinationwillbetaughtandperformedforthefacultyinsmallgroups.Suggestionsfortheaudition:● Choosemonologuesthatareappropriateforyourageandexperience.Beabletodiscusstheplayasa

whole.Itisbesttoselectmonologuesfromplays,asopposedtospecialmaterialwrittenformonologuebooks.Avoidhistoricstyles,suchasShakespeare,andverseorpoetry.Avoiddialects.Usegoodjudgmentinselectingthemonologues,avoidingpiecesthatmaybeinappropriatebecauseoflanguageorsituation.

● Choosesongsthroughwhichyoucancommunicateaspecificsituationinaclearcontextwithanobjective

(goal).Makethesituationashonestandspecificaspossible.Selectmaterialthatissuitableforyourageandexperience.Choosesongsthatfitcomfortablywithinyourrange.Ifyouareusingatranspositionofasong,besurethatyouhavecorrectlyprintedthemelody,lyrics,andaccompanimentinthenewkey.Yourmusicshouldbeinabinderortapedwithoutpageturns.

● Thoughitisn'tpossibletopreparespecificallyforthedanceaudition,applicantsgenerallyhavebetter

successiftheyeitherhavedancetrainingorhavedancedtovariousdegreesinproductions.Whiletheperformanceofthemusicaltheatrecombinationisimportant,equalemphasisisgiventotheclasssectionoftheaudition.Studentswhoseemreadilytrainableinmovementwillbemostsuccessfulintheaudition.

AdmissiontotheProgram:Design&TechnologyEntrancetothedesign&technologyconcentrationisthroughportfoliopresentationandinterviewonly.TheentranceinterviewsareofferedintheSpringSemesterandareavailablebothtoprospectivefreshmanaswellascurrentUniversityofMemphisstudents.Theinterview,combinedwithaportfoliopresentationbythe

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students,providesthefacultyinsightintothestudentspotentialandqualificationsfortheconcentration.Studentswhoexhibitpotentialfordevelopmentinoneormoreoftheareasofferedwillbeadmitted.WhilemoststudentsareadmittedintotheconcentrationpriortothefreshmanyearequalconsiderationforadmissionwillbegiventocurrentUniversityofMemphisstudents.Currentstudentsareencouragedtoseektheadviceoftheiradvisoraswellasthedesign&technologyfacultybeforeauditioningtoentertheconcentration.

Fortheportfoliopresentationstudentsshouldprepare:● Atypedrésumé(fivecopies).Therésuméshouldcontaininformationinsuchareasaspersonal(name,

address,phone,etc.),educational(schoolsandtrainingprogramsattended,degreesattained),theatricalexperience(positionsheld,producedworks,theatreaffiliations,etc.),skills,relatedexperience,professionalaffiliationsand,mostimportantly,namesandphonenumbersofreferences.

● Imagesofpastshows,equipmenttheyhaveused,andanyresearchrelevanttotheirdesignwork.

● Examplesofpaperworkdemonstratingresearch,organizationalskills,drafting,orotherdocumentationof

anyrealizedwork.● Ashort(one-to-twopages)statementofpurpose.

Presentationsuggestionstoconsider:● Beorganizedinyourverbalpresentation.Clearlyintroduceyourselfandstatewhatyourobjectivesare.

Followthiswithalistofyourexperiencesandaccomplishmentsthatclearlyindicateyourpresenttalentsandgiveusanideaofyourfuturepotential.Closeyourpresentationwithasummaryofyourobjectivesandbringthepresentationtoadefinitiveconclusion.

● Includevisualmaterialsinyourpresentationthatillustrateyourabilitiesasanartist,adesigner,andasa

technician.Suchmaterialstypicallyincludeslides,photographs,renderings,drafting,sketches,audiorecordings,andrealizedclassprojectmaterials.

● Includematerialsfromrelatedexperiencessuchashobbies,non-theatreclassprojects,andwork

experiences.● Expectquestionsaboutyourwork,professionalphilosophy,andpersonalvalues.

● Prepareyourpresentationtosetupandstrikequicklyandefficiently.

ProgressandRetentionDesign/TechnicalProductionYourfirstindividualPortfolioReview/InterviewwilltakeplaceintheJanuaryofthebeginningofthesecondsemesterofyoursophomoreyear.Freshmanandtransferstudentswillbeinterviewedasagroupbutarestillrequiredtoprovideportfolioexamples.

DesignandTechnicalProductionPortfolioReview/InterviewTimeslotsforthePortfolioReview/Interviewwillbeassignedforallparticipatingstudents.Thelistofappointmentswillbepostedinvariouslocationsincludingtheproductionboards,theFredMertzboard,andtheDesignStudioinTC-216.

Theportfolioreviewwillbeintwoparts:

1. Aneight-minuteformalpresentation.

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Thisisaformalpresentation.Youshouldplanthepresentationforanunfamiliaraudience.Considerthisbothasatechnicalauditionandasanopportunitytoexpressyourdevelopmentalgoals.Thisbecomesanopportunityforyoutopractice“selling”yourself,yourart,andyourskills.Prepareyourself,dressandactaccordingly.

ThisisamandatoryreviewforallB.F.A.candidates.Otherstudentsarewelcometoparticipate,timepermitting.

Thisreviewisintendedtofulfilltheprogramretentionrequirementsoftheconcentration,toprovideadevelopmentalanalysisforthestudent,andtoensureastandardofqualitywithintheprogram.

Presentationsuggestionstoconsider:

● Beorganizedinyourverbalpresentation.Clearlyintroduceyourselfandstatewhatyourobjectivesare.Followthiswithalistofyourexperiencesandaccomplishmentsthatclearlyindicateyourpresenttalentsandgiveusanideaofyourfuturepotential.Closeyourpresentationwithasummaryofyourobjectivesandbringthepresentationtoadefinitiveconclusion.

● Includevisualmaterialsinyourpresentationthatillustrateyourabilitiesasanartist,adesigner,

andasatechnician.Suchmaterialstypicallyincludeslides,photographs,renderings,drafting,sketches,audiorecordingsandrealizedclassprojectmaterials.

● Includematerialsfromrelatedexperiencessuchashobbies,non-theatreclassprojects,andwork

experiences.

● Provideatypedrésumé(5copies).Therésuméshouldcontaininformationinsuchareasaspersonal(name,address,phone,etc.),educational(schoolsandtrainingprogramsattended,degreesattained),theatricalexperience(positionsheld,producedworks,theatreaffiliations,etc.),skills,relatedexperience,professionalaffiliationsand,mostimportantly,namesandphonenumbersofreferences.

● Expectquestionsaboutyourwork,professionalphilosophy,andpersonalvalues.

● Prepareyoupresentationtosetupandstrikequicklyandefficiently.

Someofthingswhichwewillbelookingfor:● Clarityinpresentation,includingyourpoiseandconfidence.

● Theabilitytorelateyourstrengthstoyourdesiredobjectives.

● Thechoiceofvisualmaterialsandtheirabilitytodisplayyourstrengths.

● Ademonstrationofrangeandpotential.

Ifthisisyourfirstreview,donotbeintimidated.Yourpresentationneednotbeelaborate,butratheritshouldbeanaccuraterepresentationofyourcurrentstateofdevelopment.Yourportfoliowillgrowasyougrowasanartist.Youshouldbeconstantlylookingforitemsforpossibleinclusioninyourportfolioandpayattentiontocreatingagraphicandphotographicrecordofallyourproducedwork.

2. Aten-totwelve-minuteevaluation.

Thisportionofthereviewisacommitteeanalysisofyourpresentation,yourgrowthasanartistandcraftsperson,andprogressinyourdegreeprogram.Bepreparedtodiscussyourpersonaldevelopmentschedulewithregardstoreading(plays,designandtechnicalresearch,etc.)andskillsacquisition

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(sketching,drafting,manualskills,etc.).Criticismconsistsofidentifyingboththepositiveandthenegativeaspectsofone'swork—youshouldexpectdiscussionofboth.Wewillconsiderthestrengthsandweaknessesinyourportfolio,yourabilities,andyourprogresstowardyourobjectives.Thisdiscussionwillincludeanevaluationandassessmentofyourpersonalcommitment,motivation,andtimemanagementskills.

Expectspecificadviceconcerningfutureworkandassignments.Thisisalsoatimeforyoutoinformusofwaysinwhichwecanhelpyoutoachieveyourgoals.Asthereviewprocesscontinues,wewillexpectcontinuedprogressfromyou.Theeffortyoudisplayisamajorconcernandexpectationofthereviewers—yourprogressisimportanttothem.

ANYCURRENTB.F.A.DESIGNCANDIDATEWHODOESNOTTAKEPARTINTHEPORTFOLIOREVIEWWILLAUTOMATICALLYBEPLACEDONPROBATION.

PERFORMANCE–B.F.A.EXAMSStudentsadmittedtotheB.F.A.PerformanceconcentrationmustcompletetheFreshmenandUpperclassmenshowcasesandpassannualB.F.A.Exams.ForallShowcasesandB.F.A.Exams,studentsmustcomedressedinproperauditioningattire.(Note:studentspursuingtheDanceEmphasiswillbeevaluatedeachsemesterbyfaculty.)

UponcompletionofaB.F.A.Exam,studentswillreceiveoneofthefollowingresults:

● Pass● ProvisionalPass,withnotesonspecificareasforimprovement● FailuretoPass,withnotesonspecificareasforimprovement● Non-Continuationintheprogram

TheB.F.A.ExamintheFallofone’sJuniorYearisknownastheQualifyingExam.Itisexpectedthatbythistimeinone’sprogram,astudentshouldbeabletodemonstratesuccessinacertainnumberofcompetencies.Oftenaspecialchallengeissetforthisparticularexam.Ifastudentreceivesa“FailuretoPass”ontheJuniorQualifyingExam,thestudentmustre-takeandpasstheQualifyingExampriortograduation.

TheShowcasesandB.F.A.Examscheduleisasfollows:

Freshmen:AB.F.A.ShowcaseisheldeachApril.

Sophomores/Transferstudents:B.F.A.AuditionExamtakesplaceeachspringsemester.

Juniors:B.F.A.QualifyingExamtakesplaceinthefallsemester.Juniorsmustcomewithanupdatedrésumé.JuniorsaresubsequentlyrequiredtoshowcasetheirauditionpackagesduringaLunchboxslotearlyinthespringsemester.

SeniorsB.F.A.AuditionExamtakesplaceinthefallsemester.Seniorsmusthaveanupdatedrésuméandacurrentheadshot.SeniorsaresubsequentlyrequiredtoshowcasetheirauditionpackagesduringaLunchboxslotearlyinthespringsemester.

WhentoSignUpEachsemesteraB.F.A.auditionorientationLunchboxisheldtoreceiveatimeslotfortheExamandtohearinformationabouttheExamprocess.TheJunior/SeniorOrientationtakesplacesinthefall,whileSophomore/Transferstudentsmeetinthespring.TheFreshmenShowcasesignupisheldinconjunctionwiththeSophomore/Transferstudentauditionorientation.

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TheB.F.A.PerformanceExamsconsistsofthreeparts:Audition,JuriedFeedback,andDiscussion.

1. Audition:Theauditionportionoftheexammayfollowavarietyofformats.Thetwomosttypicalformatsare:

NinetySecondPackage

● ThisformatisbasedontheprofessionalmodelthatastudentwillencounteratauditionssuchastheTennesseeTheatreAssociation(TTA),theSoutheasternTheatreConference(SETC),andtheUnitedProfessionalTheatreAuditions(UPTA).Thestudenthas90secondstoshowcasehis/hertalent.Timeisusedtoperformaportionoftwocontrastingmonologuesand/orsingafewbarsofasong.

ThreeMinutePackage

● Thestudentpreparestwomonologuesofdistinctlydifferentstylesand/orperiods,plusamusicalselectionofaround32measures,foratotalauditiontimeofroughlythreeminutes.Youmustbringyourownpre-recordedmusic.SingingacappellarequiresspecialpermissionbeforehandfromyourPerformanceareacoordinator.Themusicalcomponentshouldbetreatedasathirdactingpiecewithacharacterdrivensongfromamusical.

2. JuriedFeedback:ThisisatimewhenthePerformancefacultycritiquesyourauditionpackage.Itisnot

necessaryforyoutotakenotesduringthissection.Youwillbesentacopyofanycommentswithyourstatusletterattheendofthesemester.

3. Discussion:Adiscussionofyouracademic,artistic,andproductionworkduringthepastsemesterwill

bereviewedandevaluated.Attheendoftheexam,youwillbegivenafewminutestogiveusyourfeedbackconcerningprogrammaticmattersorgeneraltopicsofconcern.

ANYCURRENTB.F.A.PERFORMANCECANDIDATEWHODOESNOTCOMPLETEAB.F.A.PERFOMANCEEXAMWILLAUTOMATICALLYBEPLACEDONPROBATION.

MUSICALTHEATRE–B.F.A.EXAMSOnceadmitted,MusicalTheatrestudentsfollowthesameauditionscheduleasthePerformancemajors.StudentsadmittedtotheMusicalTheatreconcentrationmustalsotakethemusicaltheatrediagnosticexamatthestartoftheirfirstsemesterintheprogram.Thisexamcoversbasicsofmusictheory,keyboardingskills,andmusicaltheatrehistory.Priorknowledgeintheseareasisnotnecessarilyrequired;however,studentsmaytestoutofsomecurricularrequirementsbasedontheresultsoftheseexams.Allstudentsmusttaketheexamregardlessofpreviousexperience.Moststudentswilltaketheexamduringorientationpriortothestartoftheirfirstyearofclasses.

Tipsfortheexam:

● TheexamwillcoverbasicMusicTheory:notereading,majorandminorscalesandkeys,andbasicharmonicanalysis;KeyboardingSkills:majorandminorscales,chordprogressions,andbasicsightreadinginbothtrebleandbassclef;basicMusicalTheatreHistory:knowledgeoflandmarkshows,differencesbetweenmusicaltheatreandopera/operetta,etc.

● Thediagnosticexamdoesnotaffectastudent’sstandingintheprogram,butitdoesserveasa

placementexamforsomeofthecurriculumand,dependingontheresults,studentsmaybeabletoomitcertaincoursesfromtheplanofstudy.

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StudentsintheMusicalTheatreconcentrationwillbegintheyearlyauditionprocessintheirsophomoreyear.ThesophomoreandsenioryearauditionswillbesimilartothoseofthePerformanceconcentration;however,studentsmustsingaspartoftheirpackage,and,ifadanceauditionisoffered,studentsmustparticipateinthataswell.

JuniorQualifyingExamFortheJuniorqualifyingexam/auditionstudentsmustprepare:

● Twocompletemusicaltheatresongs,oneofwhichmusthavebeenwrittenpriorto1965.The

songsmustbememorizedandshouldbeperformedinthecontextoftheentireshow.Anaccompanistwillbeprovided.Studentsmaybringtheirownaccompanistbutnorecordedaccompanimentwillbepermittedandstudentsmaynotsingacappella.

● Twocontrastingmonologuesfromastagework.Themonologuesmustbememorizedandshouldbeperformedinthecontextoftheentireplay.Theemphasisisonsimplereality.

● Studentswillalsoparticipateinadancecallthatwillincludematerialandtechniquesincludingballetandvariousmusicaltheatrestyles.

Thewrittenexaminationwillbesimilartothediagnosticexamgiveninthefirstyear;however,studentsareexpectedtoexhibitamoreadvancedknowledge-baseintheoryandhistory.

MusicalTheatreExamGradingStudents’performanceintheexamswillresultin(a)continuationintheconcentration,(b)probationarycontinuation,or(c)non-continuationintheprogram.

UponcompletionofaB.F.A.Exam,studentswillreceiveoneofthefollowingresults:

● Pass● ProvisionalPass,withnotesonspecificarea(s)forimprovement● FailuretoPass,withnotesonspecificarea(s)forimprovement● Non-Continuationintheprogram

Note:Ifastudentreceivesa“FailuretoPass”ontheJuniorQualifyingExam,thestudentmustre-takeandpasstheQualifyingExampriortograduation.

ANYCURRENTB.F.A.MUSCIALTHEATRECANDIDATEWHODOESNOTCOMLETEAB.F.A.PERFOMANCEEXAMORTAKEPARTINTHEPORTFOLIOREVIEWWILLAUTOMATICALLYBEPLACEDONPROBATION.

GeneralRequirementsWhileEnrolledFull-TimeintheB.F.A.ProgramThefactmustbeemphasizedthatadmissiontotheB.F.A.curriculumdoesnotimplyyourpermanenttenureintheprogram.Afteradmission,youareexpectedtopursuecontinuedcommitmenttocreativeexcellenceinyourfieldofstudyasyouhoneyourcraftasanartist.

Also,aslongasastudentisenrolledattheUofMfull-time,he/shemustfulfillALLoftheresponsibilitiesthatcomewiththedegreeinordertoremainingoodorsatisfactorystandingintheprogram.Therefore,evenastudentintheirlastsemesterasaseniortakingonlygeneraleducationcoursesinanattempttograduate(havingcompletedalltheirtheatrecourses)mustcomplywiththegeneralexpectationsandresponsibilitiesofthedegree,includingattendingmandatoryB.F.A.datesandattendingstrikes.

DESIGN/TECHNICALPRODUCTIONContinuingcommitmenttocreativeexcellenceimpliesaconsiderabletimecommitmentonyourpart.Amongyourresponsibilitiesare:

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● RegularparticipationinthesupportandproductionaspectsofallUofMTheatreproductions.● MandatoryattendanceatallstrikesofUofMTheatreproductions.● Mandatoryparticipationinannualportfolioreviews.

PERFORMANCE/MUSICALTHEATREContinuingcommitmenttocreativeexcellenceimpliesaconsiderabletimecommitmentonyourpart.Amongyourresponsibilitiesare:

● AuditioningforallSeasonShowsandalloncampus,springsemesterfirst-yearGraduate

DirectingProjects(Studentsareencouragedtoauditionforallotherdepartmentalprojectsbutarenotrequiredtodoso.)

● ParticipationinB.F.A.Exams● Participationinallstrikes● Contributiontotheprogramatlarge,i.e.beingagoodcitizen—attendingallproductions,being

supportiveofcolleagues,maintainingagoodattitude,attendingclasses,givingahelpinghandifnotinvolvedinashow,etc.

FailuretocomplywithB.F.A.rulesandregulationscouldresultinPROBATION.

REGISTERINGFORCLASSESIfastudentisnotregisteredforpermit-onlyclassesbytheendoffinalsweek,his/herpermitsCOULDbevoidedandhe/shewilllosetheabilitytoregisterforthem.Thestudentmayalsoforfeittheopportunityoftakingtheclass,thusdisruptingorperhapsprolonginghis/heracademiccareer.

GRADEMINIMUMINPERFORMANCECLASSESDepartmentpolicymandatesthateachstudentmakeaminimumgradeofa“C-”inalltheatrecourses;failuretodosomeansthattheclassmustberetakenandcouldprohibitthestudentfromprogressingforwardinthecoursesequence.

AUDITION/STRIKE/B.F.A.DATECONFLICTSItisexpectedthatastudentwillmanagetheirpersonalandworkscheduletofulfilltheirresponsibilitiesforallmandatoryB.F.A.datesduringtheyear.Alistofthesedatesispublishedatthebeginningoftheyear.Anyaddeddatesarepublishedinplentyoftimeforstudentstoarrangetheirschedules.IfastudentmissesaB.F.A.date,demeritswilllikelybeissued.IfastudenthasalegitimatelyunavoidableconflictwithanymandatoryB.F.A.date,auditionorstrike,he/shemustgivea48-hourwrittennotificationtotheirrespectiveB.F.A.AreaHeadtoavoidadditionaldemerits.Forexample,ifanauditionstartsonaThursdayevening,yournotificationmustbereceivednolaterthantheTuesdayofthatweekby5:00pm.Likewise,sincestrikesusuallyhappenonMondays,notificationmustbemadebythepreviousThursday.Notificationwillnotbeacceptedverballyinahallwayorinaclassroomconversation.Failuretodosowillbedealtwithintheappropriatemanner.

CASTINGWhenadirectorpostsacastlistandasksanactortowritehis/herinitialsnexttohis/hername,thisisdonetoindictthathe/shehasreceivedtheinformation.Therequestisnotmadeinordertofindoutiftheindividualacceptsthepart.Ifanactorhasauditioned,itisunderstoodthathe/shewillacceptANYrole.

HARDSHIPSTATUSEachmajormustauditionforeveryMainstage,StudioandGraduateProjectproduction.Wedo,however,understandthatfinancial,academic,orpersonalhardshipssometimepreventastudentfromfulfillingthisresponsibility.Ifastudenthasanacademicorfinancialhardship,he/shecanspeakwiththeirareaB.F.A.AreaHeadandrequesttobeplacedonahardshipstatus.

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Typically,thismeansthatthestudentisaskingnottobecastinshowsinordertoworkafull-timejobordevoteallofhis/herattentiontoacademicwork.Ifgranted,thisstatusappliesforafullsemesterand,therefore,astudentwouldnotavailableforcastinginthedepartmentorinthecommunity.Also,ifyourGPAfromtheprevioussemesterisbelowa2.5,youwillbeplacedonAcademicHardshipforthecurrentsemester.

ProgramStatusintheB.F.A.inPerformanceandMusicalTheatreProgramsandtheDemeritSystemWewantyoutoexcelintheprogramandinyourchosenfieldasaprofessionalartist.Therefore,weusedemeritsasameansofreflectingbacktoyouprofessionalareasinwhichyouneedtoimproveandalertingyoutocreateanactionplansothatyoucanattainsuccessinthefuture.

0–9points SatisfactoryStatus(InGoodStanding)10points ProvisionalStatus15points Probation

● Possibilityoflosingyourrighttobecastinshows● Writtenstatementtoyouradvisoroutliningyouractions/stepstoimprovethesituation● Findameansoropportunitytomakeupyourdeficiencyordeficiencies● Possibilityofcommunityservice

20points Reassessment

● TriggersameetingoftheB.F.A.Performance/MTfacultytodeterminewhethertoretainyouintheprogram;mayberequiredtomeetwiththefaculty–possibledismissal

● Mayloseyourrighttobecastinshowsforonesemester● Writtenstatementtoyouradvisoroutliningyouractionsstepstoimprovethesituation● Findameansoropportunitytomakeupyourdeficiencyordeficiencies

DemeritPointValuesOffensesthatwillresultinfive(5)demeritpoints

● MissamandatoryLunchbox/B.F.A.meeting● Missastrike(unexcusedabsence)orcometostrikeunpreparedornotdressedcorrectly(correct

footwearandclothing)● NotdressedappropriatelyforyourB.F.A.Exam/PortfoliooryourB.F.A.danceaudition● UnprofessionalbehaviorduringaB.F.A.Exam/Portfolio(e.g.talkingtoomuchduringtheB.F.A.

danceaudition)● Eachoccurrenceofunprofessionalbehaviorduringproductionrehearsals(e.g.lateness,failureto

learnlinesinatimelymanner,failuretoworkonrolebeyondrehearsalperiod)● Eachoccurrenceofunprofessionalbehaviorduringrunofaproduction(e.g.lateness,inappropriate

behaviorbackstage,inappropriateonstagebehavior,etc.)*Offensesthatwillresultinten(10)demeritpoints

● MissarequiredMainstage,StudioorGraduateDirectingProjectAudition(includingfailuretoobserve48-hourruleorprovideproperdocumentation.)

● Auditionforanoff-campusproductionwithoutadvisorconsent● NotdressedappropriatelyforamandatoryB.F.A.danceaudition—2ndoffense(youwillnotbe

allowedtoaudition)● Failuretoacceptapartafteranaudition,ordroppingoutofashowafterbeingcast

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● MissarehearsalforaseasonshoworagraduatedirectingprojectOffensesthatcanresultinuptofifteen(15)demeritpoints

● Undertheinfluenceofacontrolledsubstance—alcohol,pot,etc.—intheclassroom,atarehearsal,orduringaperformancewillnotbetoleratedandthestudentwillfaceanautomaticreassessmentintheprogramwiththeproperdisciplinaryactioncarriedouttothefullestextreme.

● Miss—orbelatefor—aB.F.A.ExamorB.F.A.DanceAudition● NotpreparedforyourB.F.A.Exam

*Aftereachproductionthestagemanagerand/ordirectorwillbecontactedregardingthesematters.

BottomLinePolicy

● Twosemestersoffullprobationduringtheprogram(theseneednotbeconsecutive)triggerReassessment—ameetingoftheB.F.A.Performance/MTfacultytodeterminewhethertoretainyouintheprogram.Youmayberequiredtomeetwiththefaculty.Youmightbedismissedfromtheprogram.

● ThreesemestersoffullProbation(theseneednotbeconsecutive)triggeranautomaticDismissal

fromtheprogram;onlyafacultymembermaymakeaformalappealonbehalfofthestudentinquestionandtheB.F.A.facultymustbeunanimousintheirvotetoretainthestudent.

● Youcouldcompromiseyourgraduationifyouractionsduringthelastsemesterofyour

academiccareercauseyoutobeplacedonProbation.Graduationmaybehelduntildeficienciesareaddressed.

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InternshipGeneralProcedureTheUndergraduateCatalogdescribesTHEA4541—Internshipasfollows:"Supervisedworkinactualuniversity,community,orprofessionaltheatreproductionsoninternshipbasis."

Theintentofthisdegreerequirementandcourseistoprovidethestudentexperienceinafull-timetheatresituation.Off-campusparticipationforasummerorasemesterisanessentialelementoftheB.F.A.degreeprogram.Sincethevaluefortheinternshipisthree(3)credithours,theworkload(jobresponsibility)shouldequalinmagnitudeandtimecommitmenttheworkloadofatypicalthree-creditclassduringthesemester.

TheB.F.A.studentmustfulfillthefollowingresponsibilities:

1. EMPLOYMENTARRANGEMENTS:

Youmustfindandmakearrangementsforemployment.Thejobmustinvolvea“meaningfullength”offull-timeemploymentinyourfieldofstudy.Theworkingsituationshould,ifpossible,beoutsidethecityofMemphis.

2. APPROVALOFADVISOR:

Priortobeginningyourtermofemployment,youmustreceivetheapprovalofyouradvisorinyourarea.AformwithinternshipinformationmustbefiledwithKristinShupeinthemainoffice.

3. LETTEROFRECOMMENDATIONFROMEMPLOYER:

Youmustalsoobtainaletterofrecommendation/evaluationofyourworkfromyoursupervisorattheendofyourtermofemployment.Thisletterwillspeakinmoredetailandbeusefultoyouasproofofprofessionalinternshipinthefuture.ThelettershouldalsobesenttoKristinShupe([email protected]).

4. DAILYJOURNAL:

YoumustmaintainadailyjournalwhileintheInternshipsituation.Thejournalmustbepresentedtoyouradvisorforevaluationuponyourreturn.AfterreceivingyourgradeinTH4541,yourjournalwillbereturnedtoyou.

5. WRITTENEVALUATIONOFSUMMERINTERNSHIPEXPERIENCE:

Uponyourreturn,youshouldwritea3-5pagesummaryevaluationofyourInternshipexperienceandgiveittoyouradvisor.Thepaper,typedandinmanuscriptform,shouldaddress:(1)thebestaspectsofyoursummerInternship;(2)theworstaspectsofyoursummerInternship;(3)howyourprogramofstudyattheUniversityofMemphispreparedyouforthisworkexperience;(4)howyourprogramofstudyattheUniversityofMemphisdidnotprepareyouforthisworkexperience;and(5)recommendationsforB.F.A.programattheUniversityofMemphis.

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FinalGradeYourfinalgradeinTHEA4541Internshipwillbebaseduponthesuccessfulcompletionofyourtermofemploymentandyouradvisor’sevaluationofthequalityofeachofthefollowingitems:

● Yourdailyjournalkeptintheinternshipsituation● Your3-5pageevaluationpaper● Letterofrecommendationfromyouremployer

Exceptionalqualityofalltheitemsabove=A.Aboveaveragequalityofalltheitemsabove=B.Acceptablecompletionofalltheitemsabove=C.

TheTheatrefacultywillbeavailabletoassistyouinanywaypossible—helpingwithyourauditionselectionsorthedevelopmentofyourportfolio;suggestingwhat,intheirbestjudgment,arepossibleimprovements;andprovidinghonest,comprehensivelettersorreferences.However,pleasegivethefacultymemberseveraldayswarningpriortorequestingareferenceoranobservationofyourauditionscene.

REMEMBER—YOUHAVETOFINDTHEJOB.

Ifyouhavequestionsorrequireclarification,pleaseseeyouradvisor.

LeightonBallewInternshipAnagreementexistsbetweenthedepartmentandTheatreMemphistoprovideinternshipexperienceforanystudentenrolledinourprogram.Typically,thedutiesfallintheareaofAssistantDirectingandStageManagement,thoughsomeadministrativeworkcouldbeincluded.Ideally,aninternshipshouldtakeplaceoutsidethestudent’scommunity,butcircumstancessometimesnegatethatoption.Inthosecircumstances,thisopportunityisanexcellentwaytofulfilltheinternshipdegreerequirement.

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Conference&AuditionOpportunitiesGeneralDescriptionThereareanumberofopportunitiesforstudentstofindyear-roundorsummeremployment,aswellasgraduateschoolprospects.Inadditiontotheinformationthatisprovidedhere,itisrecommendedthatstudentsspeakwiththeiradvisors,doresearchontheinternet,andlookatthepromotionalmaterialsthatisdisplayedonthebulletinboards.

IODInstituteofOutdoorDramaAuditions:heldinlateMarchatUNC–ChapelHill.Outdoordramacompaniesthroughoutthecountryauditionfortalentandinterviewtechnicians.Limitedto200pre-registeredapplicants.(Applicationfeeinvolved.)DEADLINE:Mid-March.

MATCMid-AmericaTheatreConferenceAuditions:heldthesecondweekinMarchinadifferentmid-Americalocation.MustbenominatedbyDepartment.Applicationfeesinvolved(approximately$25).Technicalinterviewsavailable.DEADLINE:Mid-February.

MWTAMid-WestTheatreAuditions:heldandsponsoredthelatterpartofeachFebruaryinSt.LouisbytheConservatoryofTheatreArtsatWebsterUniversity.Auditionopportunitiesforyear-roundandsummeremployment.MustbenominatedbytheDepartment.Applicationandfeesinvolved(approximately$25).Danceauditionsonlyopentoactorswhohavegonethroughtheauditionprocess.Tech/designopportunitiesareavailableaswellandportfoliopresentation/interviewscanbemade.DEADLINE:mid-December2.Forfurtherinfo,pleasecheckwww.websteruniv.edu/depts/finearts/theatre/mwta.

SETCSoutheasternTheatreConference:heldthefirstweekinMarchatacitywithinthesoutheastregion.Thisconferenceisthelargestregionalconferenceofitskindandisanexcellentsourceforsummerwork,year-roundprofessionalemployment,aswellasaresourceforundergraduateandgraduateTheatreandDanceprograms.

Auditioneestakenote—YoucannottakepartintheSETCauditionswithouthavingauditionedinyourstatetheatreassociationauditionsfirst.(SeeTTA)Studentactorsmustauditionregardlessofpreviousexperience.Thereareopportunitiesfordancersanddesign/techpeopleaswell.PeoplewhofallunderthesecategoriescanauditionorinterviewdirectlyatSETC.DEADLINE:February1.(www.setc.org)

TTATennesseeTheatreAssociationholdsathree-day,state-widetheatreconferenceinlateOctoberinamajorcitysomewhereinthestatewheremeetings,seminars,andworkshopstakeplace.AnauditioncomponentservesasthepreliminaryauditionsfortheSETCconvention.YoumustbenominatedbytheDepartment.Feesareinvolved.DEADLINE:Earlyfall.(www.tta.simplenet.com)

UPTAUnifiedProfessionalTheatreAuditions:heldandsponsoredinearlyFebruarybyPlayhouseontheSquare.Theseauditionsareprimarilyforgraduatingstudentslookingforfull-time,year-roundemployment.Feesinvolved.Technicalinterviewsavailable.DEADLINE:September.(www.upta.org)

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U/RTAUniversity/ResidentTheatreAssociation,thenation’soldestandlargestconsortiumofprofessionaltrainingprogramsandresidenttheatrecompanies,hostsaseriesofauditions—inNYC,Chicago,andIrvine,CA—eachyearthatleadstosummerpositionsandacceptanceintograduatetheatreprograms.Audition/InterviewdatesinJanuaryandFebruary.Feesinvolved.DEADLINE:lateNovember.Greatopportunitiesforundergraduatedirectingordesign/techstudentslookingforgraduateschools.(www.urta.com)

USITTUnitedStatesInstituteforTheatreTechnology:heldthethirdweekinMarchinamajorcityinNorthAmerica(sometimesinCanada).Thisconferenceisanexcellentresourceforjobsandcontactsinthedesignandtechnicaltheatrefields.Opportunitiesforstudentstoworkattheconferencetooff-setexpenses.(www.usitt.org)

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ProductionGeneralDescriptionProductionisthelifebloodofatheatreartisan.Weproduce.Wecreate.Wedoitasateam.Overandoveryouwillhearyourprofessors,yourpeers,andothertheatreartisansrefertotheatreasacollaborativeartform.Whatthismeansisthatweareallworkingtogethertocreatethesameendproduct:theplay(ordanceconcert).Itisimportantthateveryoneinvolvedrealizesthateachperson’scontributionisappreciatedandnecessary.Youwillfindthatthebusinessoftheatreanddance(notjustourDepartment)isacommunity.Thelongeryouareatheatreartist,themoreyouwillfindthatjobscomethroughpeopleyouknoworhaveknown.IntheDepartmentofTheatreandDance,everyoneisexpectedtocontributetimeandenergytoourcommunity.Allproductionsneedyoursupportandeffortinorderforthemtosucceed.Therearesomeactivitiesthatyouwillberequiredtodoandothersthatarerequestedofyou;allofthemareopportunitiesforyoutoexpandyourknowledgeandtobecomeawell-roundedartistandagoodcitizen.

RequiredInvolvementTherearethreetechnicalrequirementsforanyB.F.A.candidate.Theseareon-goingrequirementsthatservetwopurposes:

● toseethateachgraduateofourprogramhasasufficientunderstandingofallareasoftheatreso

thattheycansucceedandexcelasacollaborator.

● toseethatallmembersofanyproduction(yourselfandyourpeers,regardlessofspecialty)haveadequatesupportandthattheshowisrepresentativeofourpurposeandgoals.

1. ProductionLaboratories:Thisisthebiggestcontributionyoucanmaketosupportyourpeers.The

moreyouhelp,thebettertheendproduct.Agreatshowcanonlyhappenwitheveryone’shelp.AllB.F.A.candidatesarerequiredtoenrollinanumberofproductionlabs.Therearelaboratoryclassesinalltechnicalareas,andeachrequiresaminimumofafifty-hourcontributiontotheproductionseason.Youmayworkthesehoursinagivenshoporserveasrunningcrewforashow.Gradesaregivenbasedonthecompletionoftheminimumrequiredhoursaswellasthestudent’sperformancewithintheclass.

2. Strikes:Ifyouhaveneverdoneone,strikeisthetakingapartoftheshow.Allscenic,costume,

lighting,andsoundelementsareremovedfromthestageandstored.Anyonewhoisamajorisrequiredtoattend.Thishelpsthestrikegoswiftlysonooneisherefortoomanyhours.Theaveragestrikelastsaboutfivehours(comparedtothefourweeksofbuild)andoftenrefreshmentsareprovidedafterward.Astrikeusuallyoccursthefirstschooldayafterashowclosesitsrun.

Studentsareadvisedtowearproperfootwearinordertoavoidanyinjuries,aswellaswork-appropriateclothing.

Reportinjuriesofanykindtoafaculty/staffmemberimmediately.

3. ClassRequirements:Someoftheclassesyoutakemayrequireyoutocompleteacertainnumberof

hoursworkingonashow.Otherclassesoffersuchopportunitiesasextracredit.

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SuggestedInvolvementOverandabovetheworkthatisrequiredwithinthedepartmentarethoseopportunitiesthatstudentsmayelecttotakepartin.Theseinclude(butarenotconfinedto):

● Mainstage,Studio,andLunchboxperformanceandtechnicalopportunities● StudentandFacultyDanceconcerts

TheFacilitiesTherearethreemainperformingspacesintheTheatre(TH)BuildingandtwointheCommunication&FineArts(CFA)Building.

● TheMainstageTheatre(TH-100)isaflexibleprosceniumstagespacecapableofseating318people

thathousesourlargerproductions.Ithasalargeapronaswellassidestagestoaccommodatemanysettings.Thistheatrehashighendtechnicalsupportsuchascomputerautomatedmulti-channelsoundplayback,computerizedlightingsystemcapableofsupportingautomatedlighting,projection,and44counter-weightedlinesetsforrigging.

● TheStudioTheatre(TH-137)isanintimateblackboxcapableofanyconfiguration.Duetolimited

seating(between85-100),smallerproductionstendtobeproducedinthisspace.

● TheDanceSpace(CFA-124)isthelargerofthetwodancestudios.Equippedwithcomputerizedlightingcontrol,soundsupport,andflexibleaudienceseating,thisroomisusedbothasaclassroomandaperformancespace.

● TheLabTheatre(TH-235)isdirectlyabovetheStudioTheatreintheTheatreBuilding,thussharing

asimilarfloorplan.ThisspaceisprimarilyforclassworkandLunchBoxpresentations.

● DanceStudio(CFA-126)andRoom201(THBldg).Bothareprimarilyclassroomspacesbutmaybereservedtouseforrehearsals.

RehearsalEtiquetteSeekingaB.F.A.degreesuggestsastudent’sintentionofworkingprofessionallyaftergraduation.Therefore,itisnecessarytodevelopgoodrehearsalhabitsandetiquette.

● Beontime!

● Comeprepared!Thismeans:

Withthepropertools(yourscriptandapencil).

Intheproperdress(rehearsalclothesandshoes).

Withtheproperattitude(forgetaboutyourhorribledayandconcentrateontherehearsal).

Withtheday’sworkprepared(ifsupposedtobeoffbook,doso;ifsupposedtoworkonascene,showthatyouhavedoneso,etc.)

● Respectyourcolleagues!

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Ifnotrehearsing,pleaseremainquiet.Bringhomeworktoreadorstudyyourlines,butpleaseallowyourcolleaguestheopportunitytorehearseinasafeandquietenvironment.

● Keepyourstagemanagerupdatedatalltimes,whetherit’sforabathroombreakoraschedule

conflict.FYI:Thetemperatureofthebuildingtendstorunonthecoolersidethroughouttheyear,sopleasedressaccordingly.Wearlayersorbringadditionalclothingtokeepwarm.

BackstageEtiquette

BackstageinaUniversityofMemphisTheatre&DanceProduction

GeneralWardrobe/DressingRoomPolicies

● Pleasebeontimeforyourcall,andsignin.Pleasebeontimeforanyfightcalls,wigorwardrobeappointments,andbepreparedtoadjustyourpersonalwarmup,propcheck,andotherpre-showroutinessothateveryonecanmakecurtaininatimelymanner.

● Ifyouarriveearlyforyourcall,beadvisedthatyourclothingandgearmaynotyetbeavailable,and

crewmaybebusywithothertasks.

● Techanddressarelikerehearsal;itcantakeafewtimestogetitright.Yourpatienceandpositiveattitudebackstagearegreatlyappreciated.

● Yourwardrobewillbeassignedtoaspecificcrewmember(yourdresser)tocheckinandoutevery

performance.Pleasebeasspecificasyoucanwithrepairanddressingnotes,andgivethemdirectlytoyourdresserinperson.

● Pleasehelpyourdresserkeeptrackofallyouritems.Leaveyourcostumes,wigs,andaccessories

attheendofthenightjustthewayyoufoundthem.Onahanger.Yourmomisnotonthecrew.

● THEDRESSINGROOMSARESTRICTLYA"NO-FOOD"ZONE.Onlywaterincoveredcontainersbackstageplease.Thisincludesopening-nightcandy.Ifyouneedtobringyourdinnerinpriortoyourcall,pleaseeatinthegreenroomoranotherdesignatedplaceandcleanupafteryourself.Wedon'tneedaccidentalstains,spills,ortoattractbugs.

● AbsolutelyNOSMOKINGINCOSTUMEORWIGS.Ifyoumustfeedthataddiction,youmust

undress,removeyourwigandshiverinthecold.SMOKINGINCOSTUMEVIOLATESNOTONLYOURPOLICYBUTALLCOSTUMERENTALAGREEMENTS.Aswell,theUofMcampusisnon-smokingexceptindesignatedareas.Theonlyareanearthetheatrebuildingissouthofthebreezeway.Thedock,thebreezeway,andotheradjacentareasarestrictlynon-smoking.

● Ourdressingroomsareclosequarters.Pleasegoeasyonthepatchouliandfragrances.(Alsoplease

seenoteaboutsmoking.)Aneffectivedeodorantwillkeepyouinfriendlyrelationswithyourdressingroommates.

● Labelyourmakeupshirtandtowel,anditwillbewashedforyou.

● Ifit'snotyours,don'ttouchitormoveitunlessaskedtodosobyacrewmember.

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● Silenceyourphonebackstage.(Seebelowregardingbackstagephotos.)

● Itisthebestpolicynottobringanyvaluablestothedressingrooms;theycannotbeconsideredsecure.Theftscananddohappen,evenduringaperformance.Checkvaluableswithstagemanagementbeforehalf-hour.

● Respectthatothersmaynothavethesamepre-showprocessthatyoudoandthatyourdresser

mayhavealonglistofotherthingss/heisresponsibleforthatyouarenotawareof.

● Backstageisforcompanymembersonly.Donotinvitefriends,family,oranyonenotaffiliatedwiththeproductionwithyoubackstage.Meetyourpublicinthelobbyandoutofcostume!

● Payattentionandkeepthenoisedown.

● Reportemergenciestostagemanagementimmediately.

● Helpeachother.Listen.Learn.

DressingRoomEtiquette:CasualPhotographyandBackstage● Beadvisedthatbackstagephotographyandprocessphotographyisanimportanttoolforthe

department,forallofusastheatreartists,andfordesignandtechnologystudentsinparticular.Ifyoudon'twantyourphototaken,pleasesayso.

● Performers:Casualphotostakenforfunbackstagewillprobablycontainimagesofwork–perhaps

unfinished–oftechniciansanddesigners.YoudonothavetherighttopostthosephotosonFacebookoranyothersitewithoutfullcreditandpermission.Pleaseberespectfuloftheworkbeingdone.

● Technicians:Processphotoswithperformersinthemshouldbetakenonlywithpermission;all

subjectsanddesignworkdepictedshouldexpecttobecredited.Pleaseberespectfuloftheperformersandtheirlikenesses.

● Camerasandelectronicsbackstagepresentavarietyofissues:theyaredistractingandcompromise

yourartisticfocus,theycanmakeunwelcomesound,andtheyarevaluablecommoditiesthatcanattractthieves.Werecommendthatyoudon'tbringthemtothedressingroom,unlessyouhaveaverycompellingreason.

InformationandRecommendationsforPerformersRegardingStageMake-UpForTheatre&Danceproductions,pleaseprovideyourselfwithapersonaltheatricalmakeupkitandtoolsifyoudonotalreadypossessone.Thesearepersonalsuppliesand,forhygienicreasons,youshouldnotsharethem.Thedepartmentdoesnotsupplypersonalcosmeticproducts.Ifthedesignrequiresaspecialtyitemorcharactercosmeticnotincludedinafull-sizedbasickit,itwillbeprovided.

Recommended:Some"street"cosmeticsareusefuladditions;however,itisimportanttoobtainfoundationandcontouringproductsdesignedfortheatricalproduction.ThekitswerecommendarethetheatricalcrèmemakeupkitsbytheBenNyeCompany,whichareavailablelocally,butthereareothersonthemarketthatyoumayprefer.

ThereisaStudentKitthatdoesnotincludespiritgumandremover.ThePremiumKitismuchlarger,hasfullsizequantitiesofmostsupplies,andincludesalmosteverythingyou’llneedformostshows.

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(Note:ifyouareaUMemphisB.F.A.performancemajorexpectingtobecastinshowsduringthemajorseason,itismostcosteffectivetoobtaintheprokit.Thestudent-sizedkitsareoftenfinefortherunofasingleshow,buttheymaynotbeadequateforastylizeddesignwithoutsupplementalexpense–forexample,menwearingbeardsshouldhaveasupplyofspiritgum(ormedicaladhesive)andremover.)

Theexceptionhereiseyemakeup:thesekitsdonotincludeeyemakeups,andyoumustprovideyourownfreshmascara,liquideyeliner/falseeyelashes,etc.asnecessary.Itisexceedinglyimportantnottoshareeyeproducts.

Ifyouhavesensitiveskinorotherconcerns,oryoujustaren’tsureifyouhavewhatyouneed,pleaseconsultthedesigneroramemberofthemakeupteam.

Purchase:Youcanbuythesekitsonline,orgetthemlocallyatMainstageTheatricalSupplyInc.onBroadStreet.Wedorecommendyougothereinpersonsothatthestaffcanhelpyoupicktherightcolorkit.

MainstageTheatricalSupplyInc.www.mainstage.com2665BroadAve.Memphis,TN38112(901)452-1877mts-memphis@mainstage.comBesuretoaskforthestudentdiscount!

Beginningatfirstfulldress,inadditiontoyourmakeupkit,pleasebringtothetheatre:

● Abutton-frontshirtthatcangetmakeuponit● Haircontrolitemsifnecessary● Personaltowel● Yourfacialcleanserofchoice● Moisturizerandastringent

Labelallyourthings!GeneralStageMakeupandHairPoliciesforPerformers:

1. Wardrobewillprovidetissues,wipes,Q-tips,andabasiccoldcreamformakeupremovalfor

communityuse.Bringyourowncleanserandhandtowel.Labelit,anditwillbewashedforyou.2. Astringentandmoisturizertopreparetheskinishighlyrecommended;productselectionisapersonal

choiceandistheperformer'sresponsibility.3. Forhealthreasons,donotsharemakeup.Therearetoolsandsuppliesavailabletokeepyourmakeups

frombeingcontaminated.Labelalltheitemsinyourkitandcleanbrushesregularly.Becautiouswitheyemakeupinparticular:replacemascarasandliquidlinersfrequently.

4. Performerswithtattoosthatwillbeseenonstageareexpectedtoprovidetattoocoverproductattheirexpense.

5. ByacceptingaroleinaTheatre&Danceproduction,performersagreetoworkcollaborativelywithdesignersandcrewwithregardtohair,facialhair,andmakeupdesigns.Oncecast,performersareaskednottocut,color,orshavewithoutaproactiveconversationwiththedesigneroftheproject.

6. Weexpectacommitmentbyallpartiesinvolvedtorespectoneanother’sworkandpersonbycollaboratingoneffective,artisticallyappropriate,andfiscallyresponsiblesolutionstoanydesignand/orappearancechangesrequiredbyanyTheatre&Danceproduction.

7. Whenbudgetisavailable,theproductionwillprovide(orunderwrite)theexpenseofhairservices(haircuts,color,weaves,etc.)requiredspecificallybythedesign.Becausethesearealsopersonal

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services,theperformerisaskedtocontributebyatleastprovidingthetiptothestylist.Theproductiongenerallydoesnotexpecttopayfor“personalmaintenance”haircutsunlessitisastylechangerequiredbythedesign,butmaydosoonacase-by-casebasis,perbudgetavailability.

8. WardrobeorHair/MakeupCrewwillmaintainappliancesandwigsandprovideallrequiredhairandwigproductsandaccessories;performersareaskedtopleaserefrainfrommakingadjustmentsorusingpersonalproductsonwigsandfacialhair.

9. Performers:neverputonorremoveawigbyyourselfunlessyouhavebeengiveexplicitinstructionstodoso!

10. Hair/MakeupCrew(and/orstagemanagement)willsometimesgenerateapre-showschedulefornecessarywigcalls:pleasenoteitwillbeimportanttobeontimeforthatappointmentandtoadjustyourpre-showroutineaccordinglysothatwecanmakecurtaininatimelyfashion.

11. WhenHair/MakeupCrewareonhandinaTheatre&Danceproduction,theyaretoassistthecastwithquickchangesandwithstylizedmakeups.Theymayalsobeabletoprovideadviceandguidancetothenoviceperformerinthebasicstagecorrective.Generallyhowever,wedonotprovidestafftodoeveryone'smakeupforthem.Bepreparedtolearn!

12. Ifyoudevelopanallergicreactiontoanyproduct,pleasetellasupervisorimmediately.Ifyouhavequestionsaboutanythingrelatedtowigsandmakeup,pleaseaskthedesigner,costumefacultyandstaff,oranymemberofthehair/makeupteam.

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TheatreSeasonTheTheatreandDanceSeasonisdeterminedbythedepartmentalSeasonCommittee.MembersincludetheentireTheatreandDancefacultyplussecond-andthird-yearM.F.A.directingstudentswhoneedtodirectaproductiontofulfillrequirementstowardtheirdegrees.

Atthefirstorganizationalmeeting,theArtisticDirector,actingasproducer,willprovideguidelines,offersuggestions,andmakerecommendations.Anumberofconsiderationsarefactoredintotheselectionprocess—typesofshows(drama,comedy,musical),currenttalentbase,technicaldemands,andscheduling.Allthird-yearM.F.A. directingstudentsandanyinterestedtheatreanddancefacultymembersarethenencouragedtobringproposalstothesecondmeeting.Basedonproposalsthataresubmitted,aneventualTheatreandDanceSeasonisdeveloped.

Undergraduatestudentinputissoughtandencouraged.ATownHallMeetingisheldduringthespringsemesterinordertohearsuggestions.ItisalwaysthegoaloftheCommitteetohaveanannouncedseasonbymid-termofthespringsemester.Thereareanumberofhonors,awardsandenrichmentopportunitiesforCreativeandAcademicAchievementavailabletostudentsintheDepartmentofTheatreandDance.Inmostcases,formalapplicationmustbemadeinordertobeconsidered.However,thereareopportunitieswhereagoodrecordofacademic,creative,orcitizenshipisrecognizedandhonored.

AwardsUniversityLevel:The“WorksInProgress”Symposiumisanopportunityforundergraduatestopresenttheircurrentresearchprojectstofacultyandotherstudents.Intheperformancefield,creativework(choreography,directing,acting,anddancing)isrecognizedasresearch.ThesymposiumissponsoredbytheUniversityHonorsProgramandisheldintheFallofeachyear.

CollegeLevel:TheDean'sCreativeAchievementAwardisbasedonoutstandingcreativeactivityintheareasencompassedbytheCollege(Theatre&Dance,Music,Film,Art,orArchitecture.)DepartmentChairsselectoneCollegewinnerfromthecandidatesnominatedbyeachdepartment.

Ifselected,thestudentmakesa10-15minutepresentationbeforetheDean,AssociateDean,theCollegeDepartmentChairs,andCollegeAdministratorswhereavotewillbetaken.Thewinnerreceivesacashprize.

DepartmentLevel:TheRPTracksAwardisagenerousawardforaTheatre&Dancemajor.Itispresentedtoastudentwho,intheopinionofthefaculty,demonstratesthebestcombinationofacademic/artisticachievementandservesasarolemodelwithinthedepartment.

CityofMemphis:Eachyear,creativeexcellenceinuniversitytheatreisrecognizedthroughtheOstranderAwards.UniversityofMemphisdirectors,actors,dancers,andchoreographersareconsistentlyamongtherecipients.Inaddition,aseparateRisingStarcitation,alongwithacashaward,isgiveneachyeartoapromisingtalentinthefieldoftheatre.

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EnrichmentTheKeithKennedyTheatre&DanceStudentEnrichmentFundExpendituresfromthisfundshallbemadeforpurposesofprovidingtheatreanddancestudentswithopportunitiestobenefitfromprogrammaticenhancements,bothoncampusandinprofessionalvenues.Suchexpendituresmayincludeworkshopsandclassesconductedbyguestartists,awardsorprizestostudentswhodemonstrateoutstandingabilityand/ormakesignificantcontributionstotheDepartmentofTheatre&Dance,travelandfeesassociatedwithconferences,auditionsandportfoliopresentations,andotherexpensesasrecommendedbythedepartmentalawardscommittee.

EnrichmentScholarshipsTheDepartmentofTheatreandDanceoffersscholarshipopportunitiestoincomingfreshmenandtransferstudents(talent-basedtuitionscholarships)andtocurrentB.F.A.students(meritscholarships).InterestedapplicantscanobtainapplicationmaterialsfromtheMainOffice(TH144).

Talent-basedTuitionScholarshipsaredesignatedforincomingfreshmanandtransferstudents.Auditions(forperformanceapplicants)andportfolioreviews(fordesign/technicalproductionapplicants)arescheduledinthespringsemester.

Eachcandidateforthetalentscholarshipmustsubmitadepartmentalscholarshipapplication,transcriptsfromhighschools/collegesattended,andtwolettersofreference.Thedeadlineforsubmittingtheapplication,transcripts,andlettersofrecommendationforthetalent-basedscholarshipsisFebruary1.Pleasenotethatthecandidate’sessayportionofthedepartmentalapplicationisofparticularinteresttothescholarshipcommittee.

Thescholarshipcommitteewillscreentheapplicationsandthenwillselectfinalistsfromthepoolofapplicantstocompeteinanon-siteaudition.Eachfinalistwillbegivenascholarshipappointmenttime.Thescholarshipauditions(forperformancecandidates)orportfolioreviews(fordesigncandidates)aretypicallyscheduledforthelastSaturdayinFebruaryattheUniversityofMemphisintheTheatreBuilding.

Often,performanceauditionfinalists,inadditiontopresentingtheirindividualauditionpackages,maybeinvitedtoparticipateinanimprovisatorygroupworkshop.Theindividualperformanceauditionpackagemustconsistoftwocontrastingmonologuesand(optional)16barsofasong.Anysingingwillbepresentedacappella.Theentirepresentationmustlastnolongerthanfourminutestotal.Technicaltheatrefinalistsareinvitedtoparticipateinashortinterviewandtobringaportfoliooranyotherevidenceofpastworktopresentatthattime.Allfinalistswillalsobeabletoparticipateinaninformalquestionandanswersessionwiththecommittee.

Threefull-tuitionscholarshipscoveringin-stateenrollmentfeesareawarded.Considerationforthisawardincludesdemonstratedtalentintheselectedareaofconcentration,goodacademicstanding,evidenceofpreviousworkinthefield,andrecommendationsfromacademicteachersandartsspecialists.Thisisafour-yearscholarship.Recipientsmustbefull-timetheatremajorsandmaintaina2.80GPA,perform30hoursofworkinthedepartment,andbeactiveparticipantsintheirprogram.

InterestedstudentscandownloadanapplicationfromtheScholarshippageontheTheatrewebsiteorcontactKristinShupeat(901)[email protected].

MeritScholarshipsarethosescholarshipsavailabletoallundergraduateB.F.A.TheatreandDancemajorswhofitspecificcriteria.Theseawardsaregiveninthespringsemesterofeachyeartobeusedforthefollowingacademicyear.

APPLICATIONSAREANNOUNCEDINTHESPRINGSEMESTER.

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Meritscholarshipsarenotautomaticallyrenewed,sostudentsmustapplyeachyearforconsideration.(TheoneexceptionistheClementSantiScholarship,atwo-yearaward.)

● BetsyN.CrouchMemorialScholarship:ReceiptsselectedbyCCFAScholarshipCommitteefrom

eithertheTheatreprogramortheMusicprogram.Candidatesmustbefull-timefreshmenpursuingadegreeinvoiceand/ortheatre.

● ClementSantiMemorialScholarship:Thisisanendowedscholarship,halfMusic,halfTheatreand

Dance,inmemoryofClementSanti,donatedbyhisdaughterandson-in-lawWilliamandTinaFlaherty.Thisawardisgivenforatwo-yearperiodperrecipient.

● CybillShepherdScholarship:SelectionofstudentapprovedbytheDean.Recipientsmustmaintain

aBaverageandminimum3.0GPA.Recipientsmaybeeligibletoreceivethisawardforamaximumoffouryears.

● ElizabethandHaroldRobinsonScholarship:Thisisanendowedscholarshipawardedthroughthe

CollegeofCommunicationandFineArts.RobinsonscholarsmusthaveaminimumACTscoreof24andmaintaina3.00GPA.PreferencewillbegiventostudentsfromtheruralMid-South.

● ElvisPresleyEndowedScholarship:Thisscholarshipisgiventostudentswhodemonstrate

academicmeritandhaveafinancialneed.

● TheHohenbergFoundationDanceScholarshipisgivenyearlytoanupper-classdancestudentwhohasexcelledincreativeandacademicstudiesandhasmadesubstantialcontributionstotheUniversityofMemphisdance.

● TheIsaacHayesScholarship:ThisscholarshipgrewfromprofitsmadebyformerTheatreand

CommunicationprofessorErmaClanton’sproductionsofEveningofSoul,whichtwicefeaturedtheMemphisbornIsaacHayes.Recipientsmustcarrya2.0GPA,demonstrateaninterestinBlackTheatreorBlackRhetoricorboth,andshowbothprogresstowardadegreeandfinancialneed.

● JoannaHelmingAlumniScholarship:Full-timeperformanceordesign/techmajors(sophomoresor

above).Talent-based,withminimumGPAof2.5.Preferencegiventogreatestfinancialneed.Renewableuptofouryears.

● TheMaryS.McGaughranMusicalTheatreScholarshipFund:Thisfundwasestablishedin2010

andwillbeadministeredinconjunctionwiththenewundergraduateprograminmusicaltheatre.AwardsarerecommendedbytheDepartmentScholarshipCommittee.

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GraduationSeniorExamPre-Spring2006,theTennesseeBoardofRegentsandUniversityofMemphispolicyrequiredallseniorstocompleteageneraleducationtestpriortograduation.DuringSpring2006thispolicywaschanged.Thenewpolicyisthis:someseniorsselectedthroughrandomsamplingwillbeaskedtocompletetheexamination.Detailsregardingtheplaceandtimeoftheexaminationwillbeprovidedtothestudentatthetimeofthenotification.

IntentiontoGraduateAllstudentswhohavefulfilledtherequirementsoftheDepartmentandtheUniversityarerequiredtofileanIntentiontoGraduateFormwiththeAcademicAdvisorfortheCollegeofCommunicationandFineArtsintheDean’sOfficeduringthesemesterprecedingthesemesterofgraduation.Thedeadlinesforthisfilingareincludedintheacademiccalendarsofthecatalogsandthescheduleofclasses.Itistheresponsibilityofthestudenttoensurethatthisdeadlineismet.

Comepreparedwiththefollowinginformation:Coursescompleted(withgrades),CoursesinprogressinMajor,CoursesneededforcompletionintheMajor,GeneralEducationcoursesyettobecompleted,and,ifapplicable,coursescompletedinMinor(withgrades).

Oncetheformhasbeencompletedandassessed,signaturesfromthestudent’sdepartmentaladvisorandtheDepartmentChair,alongwiththestudent’sandtheCollegeAcademicAdvisormustbeobtained.

TheAcademicAdvisorstronglysuggests,however,thatameetingbeconductedoneyearpriortograduationinordertodouble-checkthestudent’sstatusandtomakeagraduationplan.

CertificationWhentheCollegeAcademicAdvisorreceivesyourfinalgrades,certificationofyourgraduationstatuswithbepostedviacomputer.

ParticipationinGraduationCeremonyItisgenerallyassumedthatyouwillparticipateinthegraduationceremonyforthesemesterfollowingthefilingofyourintenttograduate.Itistheresponsibilityofthestudenttobeawareofanydeadlinesandtomakearrangementsfortheorderingofhis/hercapandgownthroughtheCommencementOfficeintheUniversityCenter.

DiplomaDiplomasareissuedthroughtheUniversityCommencementOfficeviatheCCFAofficeandaremailedafterthecommencementexercise.Note:TheDepartmenthasnothingtodowithissuingdiplomas.AllmattersshouldbeaddressedontheCollegelevelviatheDean’sAcademicAdvisor.

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