Courses

TPS AC Ac Drama. Tufts equivalency awarded based upon SAT or International Diploma exam/score. Please see Tufts Exam Equivalency Chart in Bulletin for detailed information.

TPS 0001 Introduction To Theatre. Thornton Wilder called theatre the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being. By introducing the student to theatre as a socially expressive art form, this course illuminates aspects of history and human relations through interdisciplinary study. Students of all backgrounds are encouraged to apply their knowledge and experiences to class discussion as we explore the process and place of theatre in societies of the past and present. Introduction to Theatre provides the student of any background with an opportunity to intermix his or her own interests with both the performing arts and cultural studies.

TPS 0002 Foundations in Theatre: Process, Performance, and Production. Creative process and the collaborative aspects of production and theatre-making. Exploration of all areas of theatre including practical projects as designers, directors, stage managers, dramaturgs, technicians, and actors, culminating in final presentations/performances.

TPS 0010 Ancient And Medieval Theatre. Early performance rituals in Africa, Asia, the Americas, and Europe; the classical drama of Greece, Rome, and India; and the theatre of medieval Europe and Asia. Special attention paid to the ways theatre has challenged or supported the society that produced it and to how ethnicity, gender, sexuality, religion, class, and other social constructs have shaped performance, playwriting, and production. Relationship between these cultures and their theatres through a close examination of approximately twenty plays, related critical readings, research, presentations and discussions. May be taken before TPS 11 and/or TPS 12.

TPS 0011 Early Modern Theatre. Drama and performance of Asia, Europe, and the United States from the sixteenth through nineteenth centuries. Focus on new audiences, technologies, and dramaturgical techniques and how theatre negotiated changing views of ethnicity, gender, sexuality, religion, class, nationalism, and other social constructs. Topics include the popular theatre of the European Renaissance and Japan, Neoclassicism, eighteenth-century theatre in Europe and China, melodrama, and Romanticism. Exploration of these issues through a close examination of approximately twenty plays, related critical readings, research, presentations and discussions. May be taken before TPS 10 and/or TPS 12.

TPS 0012 Modern And Postmodern Theatre. This discussion-based course examines dramatic literature and its theatrical performance from the explosion of  "-isms" at the beginning of the twentieth century, through the innovations heralding the beginning of the twenty-first. Modern societies and ways of thinking have undergone radical transformations during this period, as have dramatic and theatrical expression. We will journey through this era of change through the close examination of approximately twenty plays, related critical readings, films of plays, class presentations, and lively discussions.

TPS 0014 The American Musical: Radical Acts and Adaptations. (Cross-listed w/ TPS 114 and MUS 20) Exploration of the American musical, most notably the “Broadway musical,” from the early 20th century to the present. Examination of musicals as products of their cultural moments, revealing American attitudes about race, gender, class, and ethnicity. Consideration of the established narratives, limited binaries, and systemic whiteness the American musical has traditionally embodied. Focus on innovative, even revolutionary, musicals and how they have evolved through adaptation and revival. Discussion of the musical as a global phenomenon and the impact of changing media technologies including social media on this dynamic, increasingly intercultural form. No prerequisite. Lower level of dual level course.

TPS 0015 Telling American Stories: Pulitzer Prize-Winning Musicals. (Cross-listed as MUS 19) Study of Pulitzer Prize-winning musicals from Of Thee I Sing to Hamilton in the context of the eras in which they were created, to develop a deeper understanding of American history, culture, society, and identity. Examination of musicals as: texts and performances, which include music, lyrics, script, staging, design and dance;  as works-in-progress reflective of their particular cultural moments and potentially adaptable for new audiences; and as revelatory of American attitudes about race, ethnicity, class, and gender. Develop a deeper understanding of American history, culture, society, and identity in the nearly nine decades these musicals span. Recommended: TPS 14: The American Musical (formerly numbered DR 33) is recommended but not required.

TPS 0016 Latinx Theatre And Film. (Cross-listed w/ FMS 83 and LST 51) An introduction to Latino theatre, film, and performance as a potent creative and political force in the United States. Representative works by Latino playwrights, performance artists, and filmmakers will be discussed in light of issues such as labor and immigration, gender and sexuality, generation gaps in Latino culture, hybridized identities, interculturalism, and the United States' relationship with Latin American nations.

TPS 0017 Latin American Theatre And Film. A study of the intersection of theatre with politics, culture, and history at crucial moments in twentieth and twenty-first century Latin America. Class discussion organized around issues of nation building, immigration, memory, and globalization. Analysis of  play scripts, performances, and critical theory to investigate how theatre creates and represents social and political transformation, civic responsibility, accountability through the act of witnessing performance, and analysis of major innovations in Latin American theatre and performance. (May be taken at 100 level with consent.)

TPS 0020 Art of the Moving Image. (Cross-listed as ILVS 51 & FMS 20) Exploration of cinema's basic aesthetic characteristics: its stylistic features, such as editing, cinematography, and sound, as well as its major narrative and non-narrative forms. Screenings include a variety of films from the US and abroad that exemplify cinema's myriad forms and styles: mainstream and avant-garde, fiction and non-fiction, narrative and non-narrative, black-and-white and color, silent and sound. Discussion of the extent to which cinema's aesthetic features are shared by television and interactive media such as video games, as well as what is artistically distinctive about these newer moving image media.

TPS 0022 Introduction to Media Culture and Theory. (Cross-listed with FMS 54) Qualitative media studies, its history, intellectual development, and theoretical milestones. Introduction to study of popular media culture. Covers major areas of study, theoretical principles, methodologies, and debates that have shaped popular media studies. Theoretical approaches to issues and case studies (including representation, labor and authorship, contemporary media convergence, fandom and participatory culture, media globalization, reality television, game studies, industry research and more). Students acquire knowledge of the major theories that define the field and contemporary application of these theories in critical engagements with media texts and practices.

TPS 0023 LGBTQ Theatre. (Cross-listed with WGSS 85.23) Explores the many facets of LGBTQ theatre and performance. Focus will be placed on discussing how queer and trans playwrights/performers navigate their historical, cultural, and political moments.

TPS 0024 Television History. (Cross-listed with FMS 6) Examination of the introduction and development of U.S. television during the network era (40s-90s). Development of television (in the U.S. and within a global context) from its conception through its industrial, technical, aesthetic, and textual development to understand how American broadcast television emerged as a dominant cultural force around the world. Explore how specific analytical concepts in television studies develop. Learn and practice how media theory takes on historical research. Fulfills the FMS media history requirement.

TPS 0025 Imagining The Holocaust On Stage And Screen. (Cross-listed w/FMS 62, JS 25, & TPS 125) Plays and films dealing with the Holocaust, From Nazi-era propaganda to contemporary reflections on genocide. Special emphasis on the ethics of Holocaust represented and the responsibilities of artists (and audiences) who engage the Holocaust story. Texts include such plays as Camp Comedy, Ghetto, Kindertransport, Good, Bent, Who Will Carry the World?, and Annulla, as well as critical and theoretical readings. Triumph of the Will, Night and Fog, The Architecture of Doom, Partisans of Vilna, The Boat is Full, My Mother's Courage, Schindler's List, Life is Beautiful and Shoah are among the feature films and documentaries considered. (Graduate Students should register for TPS 125).

TPS 0029 Greek and Roman Comedy. (Cross-listed as CLS 56.) Study of plays of Aristophanes, Menander, Plautus, and Terence and the contexts in which they are performed. (May be taken at the 100-level.)

TPS 0030 Sport As Performance. An analysis of the connections between athletics, theatre, performance studies, sociology and anthropology in order to understand sport as performance. Considerations of gender, sexuality, nationalism, race, human rights and medical ethics will be mediated through readings, viewings, and discussions about the Olympic Games, WWE, football, soccer, gymnastics, rodeo, and numerous other on and off campus athletic events and competitions.

TPS 0031 The Designer's Eye: History Of Style And Decor. (Cross-listed w/ FMS 29) Tailored to designers with an emphasis on architectural and decorative historical styles. Art, architecture, furnishings, wall treatments, and decorative arts will be viewed in film clips and screenings to explore how designers use this research to recreate period on film, television, and stage with an emphasis on a western trajectory from Ancient Egypt to post-modernism.

TPS 0032 Evolution Of Fashion. The ever-changing silhouette of clothing from ancient cultures to the present. Emphasis on how the style of each period of dress is influenced by other periods often a response to the previous period and its norms. Through slides, videos, museum visits, actual garments, and texts, students will learn how to recognize the sometimes obvious and other times subtle changes in fashion.

TPS 0045 Introduction To Acting. A basic course in acting aimed at enhancing self-confidence, oral expression, and creativity. Emphasis on concentration, motivation, and improvisation, and what it means to create a character and speak before an audience. Limit of eighteen students per section.

TPS 0046 Acting Realism and Naturalism. Use of Stanislavski’s terms - given circumstances, through-line, sense memory, creative imagination and ensemble acting - to analyze Arthur Miller’s play “A View from the Bridge.” Exercises (dramaturgy, radio play, documentary, and masked improv) bring the class deeply into the moment-to-moment world of the play. Focus on stage-worthy acting, how an actor thinks and honoring the body's expressive impulses. Individual coaching and skill set analysis through scene work. Prior acting experience in productions and/or acting classes recommended. No prerequisites.

TPS 0047 Acting New Works. Intensive exploration and study of a number of current and varied plays aimed at the expansion of the actor’s craft. Individual and ensemble work with Anne Bogart and Tina Landau’s approach to Viewpoints and Composition. One-hour-length showing of monologues and scenes at the end of the semester. Previous upper level Tufts acting course recommended.

TPS 0048 Physical Comedy - Clown. Introduction to the principles and practice of physical comedy. Emphasis on theatrical play, comic timing, finding and declaring the game, states of tension, complicity, clowning, clown combat, commedia, and buffoon. Essential investigation of how comedy works, and how to rediscover the playful, ferocious, vulnerable self in the creative moment.

TPS 0050 Acting Shakespeare. A multi-layered text analysis approach to the basic and more advanced techniques for acting the works of the most-produced playwright in the English language.  Develop and refine work with Shakespeare's sophisticated language in the 1623 Folio and current editions. Use of text mapping that can be applied effectively to speaking any kind of text an actor might be asked to interpret.  Scene study and work on monologues. One-hour-length showing of the worked monologues and scenes occurs at end of the semester. Some acting experience or familiarity with the works of William Shakespeare is recommended.  No prerequisites.

TPS 0051 Acting Comedic Shakespeare. The actor’s comedic impulses and imagination in the context of Shakespeare’s works. Expand the actor’s personal connection to text, to partners, and to the audience through the use of physical and verbal games. Learn from and embrace mistakes as a necessary part of the creative process and essential to understanding all that is comedically available in each moment.

TPS 0057 Voice And Speech - The Art Of Confident Expression. A course in persuasive communication designed to empower students to speak with confidence and fluency in any situation. Explores the connection between sound and movement, breath and body, mindfulness and positive energy through physical and vocal exercises intended to maximize the full range of flexibility, variety and contrast in vocal expression. Focuses on such essential aspects of voice as pitch, pace, volume, inflection, and articulation, with special attention to the demands of public speaking.

TPS 0058 Public Speaking. Introductory course exploring the fundamentals of clear, confident, and effective communication in one-on-one and group settings. Development of tension management skills, good breathing habits, awareness of body language, and the ability to engage an audience through a series of practical exercises. Specific vocal work focuses on tone, variety of pitch, rate, volume, and articulation. Satisfies Humanities Requirement Fall 2006 and beyond.

TPS 0059 Stage Management. The study and analysis of the production of a play from the point of view of the stage manager, from auditions through the close of the show. Individual preparation of a complete stage manager's prompt script for one play with emphasis on critical and analytical thinking, problem solving, strong written and oral communication skills.

TPS 0060 Costume Technology. An exploration of materials, equipment, and methods of costume construction. Topics include period pattern research and development, construction techniques, fabric treatments, mask making, and costume prop design. Lab fee.

TPS 0061 Scene Painting. Study and practice of the techniques of scene painting and surface treatment applicable to the execution of theatrical designs. Lab fee.

TPS 0062 Scenic Fabrication. An exploration of the tools, materials, and techniques for fabricating scenery for the entertainment industry. Topics covered include safely working in a shop environment, carpentry, rigging techniques, drafting, collaboration, and problem-solving.

TPS 0064 Sound Design and Engineering. Introduction to sound engineering and design for theater and the technical components and software used to implement designs. Combination of lectures, projects, and hands-on demonstrations. Lab fee required.

TPS 0070 Scene Design. (Cross-listed with FMS 60) Development of the skills of script analysis, rendering and model making, and process for the design of scenery.

TPS 0071 Costume Design. (Cross listed w/ FMS 36) Development of the skills of script analysis, rendering, and process for the design of costumes.

TPS 0072 Lighting Design. The study of the aesthetics, processes, and tools of lighting design for the stage. Script analysis, research, color theory, equipment, design principles for arena and proscenium stages, design documentation, using a combination of hands-on exercises, paper projects, and computer visualization.

TPS 0073 Makeup Design And Application. Studio-based exploration of design and implementation of makeup for stage and film. Topics include makeup history, facial structure, color theory, products and their uses, the creation and use of prosthetics and wigs. Design projects focus on researching period based makeup, creating an accurate image to work from, and implementing those ideas on the actual human face.

TPS 0078 Playwriting I. An introductory course open to all interested students who want practice and instruction in playwriting in a workshop situation. Emphasis on experimentation and process, with weekly assignments and in-class exercises designed to encourage students to write both visually and concretely. Attention to character development, narrative structure, and a play's arc through its beginning, turning point, and ending. Special focus on such elements of craft as revealing action, the power of the unspoken word, and disrupted ritual.

TPS 0079 Screenwriting I. (Cross-listed as FMS 20). Immersive workshop in the craft of writing short, engaging scripts. Introduction to screenwriting and dramatic construction, taking the short film from concept to screenplay. Screenings and analysis of narrative shorts from around the world supplement weekly script development and roundtable discussion of student work.

TPS 0080 Production Prep Crew. Participation in scenery construction, costume construction, electrics, or paint crew for departmental major productions. Minimum of 30 hours in one semester. Required for Drama major. No credit; pass/fail grading.

TPS 0081 Production Run Crew. Participation in backstage, costume, lighting, or sound crew during technical and dress rehearsals and performances of a department production. Pass/fail grading. Recommendations:  Drama major and permission of instructor.

TPS 0082 Practicum In Acting. Rehearsal and performance of a role in a departmental major production, under the direction and instruction of a faculty member. Auditions are open to the Tufts community. Course registration occurs after casting, and all cast members are required to register (with the exception of designated small roles). May be repeated for credit, but only two courses of TPS 82 and/or 83 can be used to satisfy the requirements for the drama major or minor.

TPS 0083 Practicum In Production. Significant participation in the design, technical, or management aspects of production, with the supervision and instruction of the appropriate faculty member. Specific projects, assignments, and other work will be geared to the requirements of the particular production. All students with substantial responsibilities on a major production must register for this course. May be repeated for credit, but only two courses of TPS 82 and/or 83 may be used to satisfy the requirements for the drama major or minor.

TPS 0092 Special Topics: Practicum in Dramaturgy. This course explores special topics in theatre or film. For more about the specific listings offered each semester please see the department website at: http://dramadance.tufts.edu.

TPS 0093 Special Topics: Bollywood Dance. This course explores special topics in theatre or film. Descriptions are updated each semester.

TPS 0093 Special Topics: Performing Masculinity. This course uses performance to think about the shifting and entrenched definitions of masculinity in American performance culture from the 20th-century through today. With a specific focus on queer and trans artists, we will engage with live performance, film, and writing that offers expansive visions of masculinity. Along the way, we will examine the structures of gender, race, and power in American culture, practice performance critique, and define the capacious possibility of masculinity today. No prerequisites

TPS 0094 Special Topics. This course explores special topics in theatre or film. Descriptions are updated each semester.

TPS 0094.01 Special Topics: Theatre and Social Justice. What does performance make possible? What worlds does it imagine, reveal, and transform? This course approaches a range of performance texts (plays, comedy specials, protests, songs, etc.) through a social justice lens to consider how change, critique, and community building occur within theatres and universities and at local and national levels. Throughout our semester together, we will trace lineages of performance and social justice, including traditions of theatre for social change, protests as choreography, and institutional interventions. In particular, we will consider theatre, dance, and performance’s role in engaging issues of justice, such as antiracism, settler colonial critique, disability justice, and feminism, to name a few. We will grapple with the histories and contemporary consequences of ongoing settler-colonialism at Tufts and within greater Boston, while also considering how performance might be used within our current moment and immediate communities to elicit change.

TPS 0094.06 Special Topics: Solos and Scenes. This course explores using the singing voice in conjunction with scripted scenes and solo songs to accomplish full, rich storytelling. Students will develop an approach to processing the internal life of a character in conjunction with musical information provided in a song, then bring those song interpretation skills into a scene. As students craft an approach for dissecting, analyzing, and breaking down a musical theatre scene, they will learn to use their mind, body, emotion, and voice to be present in a scene and to be connected with their scene partner. In surveying and performing various American Musical Theatre genres throughout the semester, students will develop a versatile, flexible, vocal instrument, an open and curious musical mind, a generous and collaborative spirit when working with other artists, and the confidence that comes with repeated performance and growth.

TPS 0094.67 Special Topics: Intro to Performance Studies. Few words in the English language have such confusing and diverse meanings as the word “performance.” Whether on a stage or social media, in politics or a nightclub, performance surrounds our daily lives in both clear and surprising ways. This survey of the study and practice of performance will provide students with an introduction to the theoretical lineages of the field. We will explore emerging trends in performance research and creative work, with close attention to a range of artists and activists. These may include musicians like Whitney Houston, Selena, and Azelia Banks, dancers like Leiomy Maldonado, Rashaad Newsome, and Arthur Aviles, artists like Xandra Ibarra, Mark Aguhar, Tourmaline, and Lia García, and activists like Jennicet Gutiérrez, Cece McDonald, and Lou Sullivan.

TPS 0099 Internship. No description at this time.

TPS 0100 Junior/Senior Theatre Arts and Career Seminar. Conceiving, researching, and planning complex projects (including thesis and capstones); engaging in collaboration workshops; and delving into possible careers and creating job seeking materials including portfolios and websites for their creative professions. Learning about self-motivation for artistic careers happens alongside increased peer and mentor feedback to prepare for a life as a confident, independent artist working dynamically in a collaborative art form. Recommended: TPS major or minor with junior or senior standing.

TPS 0110 Contemporary American Theatre. (Cross-list w/ AMER 139) Twenty first century theatre as a major cultural and political art form. Readings and discussions of a selection of important plays and performances will explore how the playwrights address issues of race, class, gender, and national identity. Investigation of  major economic and ethical issues affecting the American theatre including interracial casting, the economic demands of producing on Broadway, regional theatre homogeneity, and the selection criteria of Pulitzer Prize and Tony Award nominations.

TPS 0120 International Women Film Directors. Although female directors are still considered a minority in the international film industry, their contribution is significant. The films that we will screen are not Hollywood studio films and do not cater to predictable conventions and "happy endings." These films are diverse and unique, yet share such themes as female oppression, gender identification, women's roles in everyday life, and female empowerment. We will analyze the director's' narrative and visual storytelling processes and choices, and how their diverse backgrounds influence their films, as well as discuss critics' reviews. Many of these provocative directors have been imprisoned, banned from their countries, are a major influence on their country's New Wave cinema, and/or stirred and international debate because of their films.

TPS 0121 Television in the Age of Change. (Cross listed as ILVS 72 & FMS 165) Examines how new technologies and shifting viewing habits are transforming television; how storytelling is changing in light of TV’s industrial and technological evolution and our global, networked, media environment; and how contemporary viewing habits are reshaping our theories of audiences, styles, and viewing pleasures. Focuses on story creation, changing genres, programming conventions and global trends, shifting technologies, social media, TV fans, and streaming content—and how all these influence television narratives and our media culture.

TPS 0145 Acting as a Career. Introduction to self-promotion and the business mindset including auditioning before guest directors and casting directors and working with cold readings, monologues, and commercial copy. Preparation for graduate school acting programs. Topics include career development and building professional relationships. Prerequisite: Sophomore standing and permission of instructor. Completion of a Tufts acting class, especially Acting Shakespeare, strongly recommended.

TPS 0150 Film Directing. (Cross-listed w/ FMS 136) Advanced exploration of the art of the film director from both a critical and artistic perspective. Through focused study of films and writings by diverse narrative film directors, students will develop deeper understanding of how directors use film techniques to shape a story. Through practice-based exercises and workshops with industry professionals, students will hone directing techniques, including how to work with actors and ways to use the camera, movement, design, lighting, editing, and other film elements for effective storytelling. Prerequisite: Introduction to Filmmaking or Introduction to Film Studies

TPS 0151 Producing for Film. (Cross-listed as FMS 34.) Exploration of the art of creative film production through participation on the production team for a new professional film project. Through film analysis, theoretical readings, project development, production experience, and engagement with working filmmakers, students will expand their capacities to think as artists and critics. Learn and practice fundamental elements of successful producing, including script breakdown, budgeting, fundraising, executing contracts,
copyright and other legal documents, casting, scheduling, location scouting, shooting, editing, marketing, and distribution. Gain skills to facilitate their own future projects, while developing increased understanding of film as a collaborative medium. Prerequisite: Film and Media Production or Instructor consent

TPS 0155 Directing I. Introduction to all aspects of translating a play from script to stage. Play analysis and interpretation, director's concept, visual composition, improvisational metaphors, and the history and theories of directing. Prerequisite: TPS 0001 or TPS 0002 or TPS 0012, or consent.

TPS 0156 Directing II. The techniques and art of play direction, with emphasis on methods of actor coaching and rehearsal procedures. Rehearsal and presentation of several scenes of varying dramatic styles in association with some reading and writing assignments about specific problems in directing. Final project is the public performance of a one-act play. Recommendations: TPS 10 or 12, and 155.

TPS 0161 Advanced Scene Painting. An expansion upon techniques explored in TPS 0061 Scene Painting, with an emphasis on interpretation along with technique. Painted drapery and foliage along with faux finishes such as peeling /cracking paint and plaster surfaces. Final project that is similar to the USA Scenic Artists' Union exam. Recommendations: TPS 0061 or consent.

TPS 0162 Stage Engineering. Introduction to standard theatrical techniques for the construction of scenery. Analysis of materials, fasteners, assembly practices, shop flow, and the development production drafting. Emphasis on interpretation of the scene designer's draftings and how to achieve a variety of stage looks and support of the design through the appropriate choice of materials and construction techniques.

TPS 0170 Advanced Scene Design. Exploration of the set design process through the production of a portfolio project. Students will develop it into a finished package that could be presented to a scene shop for bidding. The project can be chosen by the student (with instructor approval) or may be a project the student is actually mounting. Students will be expected to turn in a finished model, all draftings, and color information for their design. Recommendations: TPS 125.

TPS 0171 Advanced Costume Design. Exploration of the costume design process through completion of finished portfolio projects. Projects chosen specifically for/with each student and may include a musical, opera, film, or dance project. Students will produce colored renderings with fabric choices, research and organizational documentation, and will present their portfolio to a panel of faculty. All students learn about the process of costume designing film and television. Projects in collaboration with film students are possible. Prerequisite: TPS 126 Costume Design or consent.

TPS 0172 Advance Lighting Design. An advanced exploration of lighting technology and design aesthetics for more complex productions such as multi-set shows, musicals, and dance. Use of computer programs for planning and communicating design ideas. Lab fee. Prerequisites: TPS 0072 or consent.

TPS 0178 Screenwriting II. (Cross-listed as FMS 33.) Study of screenwriting with an emphasis on story, structure, and character development. Analysis of films and produced screenplays. Weekly workshops emphasizing peer analysis and critique. Completion of the first act of a feature-length screenplay and an outline of Acts II and III.

TPS 0179 Screenwriting III. (Cross-listed w/ FMS 134) Advanced screenwriting course with focus on completing Acts II and III of a feature-length screenplay in a workshop setting. The following screenwriting steps will be examined and discussed: character development, story, plot, structure, dialogue, visuals, setups and payoffs, and genre. Films and published screenplays will also be analyzed. Recommendations: Screenwriting II or permission from professor.

TPS 0183 Practicum In Design. Practical application of scenic, lighting, or costume design to a faculty-directed major production. A student develops a design through an extensive tutorial process culminating in construction and use in a Balch Arena Theater production. Recommendations: TPS 118, or 125, or 126, and permission of design faculty.

TPS 0184 Practicum In Design. Practical application of scenic, lighting, or costume design to a faculty-directed major production. A student develops a design through an extensive tutorial process culminating in construction and use in a Balch Arena Theater production. Recommendations: TPS 118, or 125, or 126, and permission of design faculty.

TPS 0185 Practicum In Directing. Direction of a mentored production (normally a full-length play) in the Balch Arena Theater. A student completes directorial research and creates production ideas and strategies through an extensive tutorial process with a member of the acting/directing faculty. Recommendations:  TPS 156, a design course, and permission of instructor.

TPS 0186 Practicum In Directing. Direction of a mentored production (normally a full-length play) in the Balch Arena Theater. A student completes directorial research and creates production ideas and strategies through an extensive tutorial process with a member of the acting/directing faculty. Recommendations: TPS 156, a design course, and permission of instructor.

TPS 0193 Special Topics: Corset & Crinolines. Using advanced Costume construction techniques. Students research and construct underpinnings from 4 different centuries. Learning the history of the corset and crinolines.

TPS 0193 Special Topics: Senior Capstone Thesis. No description at this time.

TPS 0198 Senior Honors Thesis A. This is a yearlong course. Each semester counts as 4 credits towards a student’s credit load. Students will earn 8 credits at the end of the second semester.

TPS 0199 Senior Honors Thesis B. This is a yearlong course. Each semester counts as 4 credits towards a student’s credit load. Students will earn 8 credits at the end of the second semester.

DNC 0011 Introduction To Physical Theatre. (Cross-listed as DR 11.) Collaborations and creative projects in sound and movement, translations from other media, mask, and development of eccentric characters. Work placed in theatrical context through readings, viewings, and writing to create expanded views of performance for novice and experienced performers.

DNC 0012-0015 Ballet I-IV. All Ballet courses include level appropriate practice of traditional barre and center work, and creative applications of ballet movement vocabulary in varied compositional assignments. Course work focuses on experiential practice, supported by reading, viewing, and written assignments that contextualize ballet’s history, aesthetics, and contemporary trends in the genre. Beginning level open to all with no prerequisites. At least 1 to 2 years experience and faculty assessments are required for Ballet III and IV. Ballet IV may be repeated. 2 credits. Fulfills arts distribution.

DNC 0021-0024 Modern I-IV. Modern courses focus on introducing and refining technical forms and concepts of modern dance, including exploring principles of weight, momentum, rhythmic precision, musicality, partnering, dynamic variation, extended movement combinations, improvisation and creative process. Movement practice is supported by creative assignments, short viewing, reading and written work, and performance viewing and response. No previous dance experience is required for Modern I. Upper level Modern courses are appropriate for those with substantial dance training in modern and/or ballet. Modern IV may be repeated. 2 credits. Fulfills arts distribution.

DNC 0030 Hip Hop: Intro to Breakin' Culture/Performance. Introduction to Breakin’, the original dance of Hip Hop, combining movement and written work. Development of foundational skills in toprock, downrock, and other styles of movement through tools of dance. Exploration of self-expression and community through practice and exchange within street dance pedagogy. History of Hip Hop (globally and locally) and engagement with its social, political, and spiritual dimensions. Includes readings, videos, weekly reflections, discussions, and written assignments. No previous dance experience required.

DNC 0035 Contemporary Jazz Dance. Contemporary Jazz fuses elements of pop culture with modern and ballet, underscored by principles of hip hop. The class focuses on personal expression through movement to build a confident and eclectic mover. Assignments include short viewings , readings and written work, and performance viewing and response.  Appropriate for more advanced dancers and dance minors. 2 credits. Fulfills arts distribution. 

DNC 0042 Afro-Haitian Dance: From Roots to Stage. This experiential course focuses on the choreographic works of folkloric artists and how traditional performances connect to modern dance pioneer, Katherine Dunham, and contemporary works of today. Students will learn and develop choreography for spring performance, including the Yanvalou, Nago, and Zepal rhythms. Course work includes short viewings, readings, and written assignments. No dance experience required. 2 credits. Upon petition, may fulfill two of arts, culture, and/or world civilizations distribution.

DNC 0046 North Indian Kathak. Introduction to this classical dance-theatre of North India. Basic movements, footwork patterns, spins, rhythms, and abhinaya (story-telling). Cultural context and historical background interwoven. Recommendations:  For complete novices and those with some experience.

DNC 0047 Kathak Storytelling. Practice of the ancient Indian tradition of dramatic storytelling through the skills of facial expression (abhinaya), hand gestures (mudras), song (sangeet), rhythm (tal), with footwork. Students dance traditional stories from the Ramayana and end the course by applying their skills to contemporary stories, poems, and/or songs. Cultural context of the form included. Appropriate for beginners and those who have taken DNC 63.

DNC 0049 Tai Chi: An Experience of Time and Tempo. Experiential introduction to Tai Chi using the Tai Ji Quan (Tai Chi) and Yi Jin Jing exercises practiced by Master Ham-King Koo’s Society of Nanlaoshu in NYC. Study of the first chapter of the Tai Chi form embodied at varied speeds for a greater experience of time and the expressive reality of tempo. Two versions of  Lao Tzu’s Tao Te Ching are read throughout the semester.

DNC 0060 Dance Production Practicum. Logistics and rigor of producing dance performance. Prepares dancemakers for transitioning into the role of dance choreographers and directors. Participation as crew and/or staff in the production of Dance Program events. Entails approximately 15-hours, concentrated during load-in, tech, dress, and performance schedules for events. Required for Dance minors. May be repeated once.

DNC 0061 Dance Performance Practicum. Designed for students participating as performers in Senior Dance Minor capstone projects and/or other Dance Program performance projects. 2 credits. Pass/Fail option only. Prerequisites: Approval of Instructor. 

DNC 0062 Dance Repertory & Performance. Development of a performance work through faculty direction or ensemble collaboration led by a faculty member. Creation, performance, video documentation, and analysis of form and content in aesthetic context. May be repeated. Recommendations:  Studio Dance experience.

DNC 0071 Dance Movement And Creative Process. Explore the basic principles of movement: level, direction, speed, quality, rhythm, initiation. Learn to use unexpected sources to inspire movement. Safely experience close physical contact and learn how to take and give weight, how to lift and be lifted. Explore individual and group creative improvisational process. Includes diverse video viewings, readings, discussion and short written assignments on ideas as diverse as geography, cultural history, aesthetics, anthropology.

DNC 0075 Dance Composition. Completion of varied composition assignments and writing representing twentieth-century methods. Includes aesthetic context, weekly lab work, and analysis. Culminates in performance. Recommendations: Dance course with creative elements or permission of instructor.

DNC 0077 Dance on Camera. (Cross-listed w/FMS 27 & DNC 177) Inter-disciplinary course designed for any dancer, artist or student interested in film & video production with dance or movement as a medium. Participants will take dance and movement concepts outside of studio walls and into the community through site-specific collaborative video projects. Through storyboarding, shooting, editing, and choreographing/directing, students will learn basic video production techniques and advanced camera work in this hands-on course. Development of movement ideas as well as non-linear editing skills will be explored. Work culminates in end of semester public screening and online video sharing. Open to all. No dance or film/video experience necessary.

DNC 0081 Origins of 20th Century American Dance. A survey of historical and aesthetic trends found in the American Ballet, Modern and Musical Theater genres, including comparative analysis across generations and forms. Reading and viewing of primary source material including student research projects focusing on individual choreographers. Inclusion of European and non-western forms as they influence the evolution of American forms. 3 credits. Fulfills arts distribution.

DNC 0085 Dance and the Hollywood Musical. (Cross-listed with FMS 26) The role of dance in the film musical genre over the past century.  Explores how bodies, movement vocabulary, and choreography can reinforce, oppose, and/or comment on contemporary society and our “collective” cultural identity. How do parallel developments in cinema and art impact the way we view dance? How are race, gender, and nationality portrayed? How do we define and view this genre today? Viewings, readings, movement experiences, discussions, and independent projects.  Focus on developing literacy and critical research skills in dance. No previous dance or film background required.  Recommendation:  Art History and/or critical studies course in the arts.

DNC 0089 Creative Dance for Children. (Cross-listed with CSHD 178) Experiential class offering students expanded understanding of the body/mind connection and its creative potential in education. Classroom activities provide skills and strategies for teaching of dance in pre-K through grade 12 settings, with an emphasis on creating age-appropriate lesson models. Includes classroom observation of Pre-K through 2nd grade lessons and guest sessions with dance therapists and educators in the Boston area.

DNC 0091 & DNC 0092 Special Topics. This course explores special topics in dance. A selection of recent offerings listed below.

DNC 0091 & DNC 0092 Special Topic: Afro-Haitian Dance. An introductory course focusing on the physical practice and cultural understanding of Haitian Folkloric Dance forms through a hybrid combination of in-person and online learning. This experiential course of embodied practice, lecture and video discussions will allow students to learn about the historical influences of the traditional dance and rhythms of Haiti including Yanvalou, Ibo, Banda and Congo. Course work includes short viewings, reading discussions and written assignments. No dance experience required. 2 credits. Upon petition, may fulfill arts, culture, and/or world civilizations distribution.  

DNC 0091 & DNC 0092 Special Topic: Conditioning for Dance & Wellness.
Combining elements of release technique, Pilates, Hatha Yoga and mindfulness practices, the course will focus on alignment, stretching, strengthening, relaxing tension. In-person sessions will focus on applying these principles in movement through space. Academic work will touch on anatomy and kinesiology. Students will set their own goals and assess their progress toward them. 2 credits. Fulfills arts distribution. 

DNC 0091 & DNC 0092 Special Topic: Creative Process: Post-Modern Approaches. A reaction to the compositional and presentational constraints of historic modern dance, post-modern dance employed everyday movement as valid performance art, advocated novel compositional methods, utilized alternative performance spaces, recognized that any movement could be dance and that any mover could be a dancer. This class is an opportunity to experience some of those methods as applied to generating movement material. participants will explore movement problems, manipulate and build material. Problems will change daily. Readings and video viewings will amplify in-class work. Short, weekly, written work will provide opportunities to integrate studio experiments, readings and viewings, and to share your own responses. 2 credits. Fulfills arts distribution.

DNC 0091 & DNC 0092 Special Topic: Hip-Hop Dance Culture, Philosophy & Practice: B-boying, B-girling, & Breakin'.  Explore self-expression and community as we practice the original dance of hip-hop: Breakin’. This course is a step into the culture and philosophy of b-boys, b-girls and breakers. Students work with the tools of the dance to develop their abilities in toprock, downrock and other styles of movement. Students apply new skills and express their style in cyphers (dance circles) and battles. We discuss our experiences and explore the history of hip-hop to engage with its social, political, and spiritual dimensions as students of the culture. Course includes readings, video viewings, weekly reflections, discussions, written assignments and weekly recitation. Accessible to all levels. 3 credits. Fulfills arts distribution.

DNC 0091 & DNC 0092 Special Topic: Latin Social Dance. Latin Social Dance will serve as an introduction to social partnered movement of the American Caribbean diaspora. Students will explore salsa, bachata, merengue, mambo, and more, focusing on partner communication, music literacy, and the historical evolution of the various dance forms. 2 credits. Fulfills arts distribution credits.

DNC 0091 & DNC 0092 Special Topic: Queer Dance. This class explores the relationship between race, nation, gender, sexuality, and dance.  The course materials will explore the ways that queer and trans people innovate movement and disrupt heteronormative tendencies in dance cultures.  Course materials will cover waacking, voguing, ballet, Bollywood, jay setting, quebradita, tango, and drag amongst other forms of performance across social cultural, and concert settings.  Students will be expected to read dance studies texts and watch videos in preparation for in-class discussions, and classes will be complemented by dance workshops from visiting artists. 3 credits.

DNC 0091 & DNC 0092 Special Topic: Tap Dance: Practice, Performance, and Survey. This course provides students with instruction in fundamental tap dance techniques and crucial historical tap dance repertoire. Students are introduced to the cultures and people that created the form, and learn a variety of dances including the stories and social circumstances surrounding their making. The course delivers students the technical exercises to build and strengthen vocabulary and improvisational opportunities to gain a deeper and more personal relationship with the material. 2 credits. Fulfills arts distribution. 

DNC 0091 & DNC 0092 Special Topic: Hip Hop: Cypher to Stage. This course provides students with an opportunity to further develop Hip Hop dance skills and knowledge. Students will investigate the duality of preserving intentions of participating in the Hip Hop cypher while also opening the circle to invite an audience. Course culminates in a public performance which explores this theme and further experimentation within the foundations of Hip Hop culture.

DNC 0117 Choreographers' Workshop. Develop a project through specific, personal compositional process. Includes one initial movement assignment for all students. Compositional possibilities are a starting point from which choreographers define options. Includes in-class movement experiences, showings, discussion, the creation of 2-3 short dances, and performance in one’s own and other student dances. Viewing, reading and journal assignments specific to each student. Additional rehearsal time outside of class. Prerequisites: Previous dance composition or DNC 62; permission of the instructor. 3 credits. Fulfills arts distribution.

DNC 0191 Advanced Dance Studies. Guided independent work on research papers and advanced graduate and undergraduate special topics courses. 3 credits. Prerequisites: Approval of Instructor. Fulfills arts distribution.

DNC 0192 Dance Research Project. Guided independent work on research papers, senior capstone written and/or choreographic projects, and advanced graduate and undergraduate special topics courses. 2 credits. Prerequisites: Approval of Instructor. Fulfills arts distribution.

TPS 0200 Dr Dept Discussion Grp. No description at this time.

TPS 0220 Introduction To Graduate Studies. A survey of major published reference sources forming the foundation of theatre history and an introduction to the use of primary documents in theatre research. Both access technique and scholarly application are demonstrated by use of libraries such as the Harvard Theatre Collection.

TPS 0221 Theatre, Pedagogy, Curriculum and Professional Development. An introduction to the pedagogical theories, teaching practices and professional development skills necessary to expand career possibilities upon completing the PhD in Theatre and Performance Studies. Focus will be placed on both the study and practice of teaching strategies and tactics for making acquired skills legible to employers within and beyond the academy. Students will examine pedagogical trends, theories, and practices, with particular focus on teaching theatre in variety of contexts and to students from diverse backgrounds. Emphasis will be placed on creating, adapting, and justifying pedagogical strategies that employ the concepts discussed in course readings, lectures, and discussions.

TPS 0231 Foundations of Latinx Theatre and Performance. This course examines the emergence of Latino theatre and film as a potent creative and political force in the United States. Representative works by Latino playwrights, performance artists, and filmmakers will be discussed in light of issues such as labor and immigration, gender and sexuality, generation gabs in Latino culture, hybridized identities, interculturalism, and the United States' relationship with Latin American nations.

TPS 0255 19th Century American Theatre. This seminar confronts the drama of national and cultural identity.  Students will read plays and other primary source material as well as essays and historical commentary. Topics include: the beginnings of nationalism, the theatrical and the political, economic forces and show business, melodrama's gendered vortex, the representation of race, the roots of "American studies" in theatre history, marketing stars and shows, "presenting" ethnicity and the development of theatrical criticism, among other issues.

TPS 0257 Confronting Genocide on Stage and Screen. This seminar will focus on representations of genocide in plays and films from the Armenian Genocide to the Nanking Massacre, the Holocaust to the Cambodian Genocide, Argentina's Dirty War to genocides in Guatemala, Rwanda, Bosnia Herzegovina, and Darfur. We will explore the ethics and artistic integrity of those representations, the challenges artists and audiences face in confronting unimaginable realities and the role such works can play in promoting awareness, understanding, and the possibility for transformational change. We will consider artistic expression as a form of cultural resistance, the role of artists as peace-building performers, and the efficacy of art in helping survivors cope with trauma and develop resilience.

TPS 0260 Contemporary Latin American Performance. Through examination of diverse performative phenomena (urban intervention, theater, visual art, and film) this course investigates performance in the negotiation of memory politics, changing notions of citizenship, human rights activism, and the articulation of youth culture in contemporary Argentina, Chile and Peru.

TPS 0262 Modern Dramatic Theory and Criticism. Extensive examination of a variety of theoretical lenses that can magnify the study of theatrical performance or the analysis of dramatic texts. Critical theory, cultural studies, postmodernism, and other branches of contemporary theory are explored after an investigation of modern theories such as Marxism, psychoanalysis, structuralism, ecology, and feminism.

TPS 0263 Foundations and Futures in Performance Studies. Performance studies takes seriously that performance is a critical site of knowledge making; performance thus becomes a way of doing research, engaging in critical analysis, and staging research and theoretical concepts. Understanding performance in this way makes it an effective tool in pedagogical and political praxis. Performance studies also holds a wide conception of what performance can be: national and global exhibitions of power; gestural practices; everyday stylings of the body; and spiritual ritual. As such, this interdisciplinary field draws from and makes itself relevant to other academic disciplines: theater, literature, dance, film, art, and music; critical social theory; anthropology; geography; and history. In this class, we will survey a range of key terms and ideas in performance studies. We will follow the genealogies of particular analytics such as performativity, memory, witnessing, ephemerality, liveness, gesture, theatricality, flesh, and body within the field. Drawing on these ideas, we will ask who gets to perform and who is required to perform, who does culture and who makes art. We will think through the ways that performance is used in / as research, and we will also perform in order to converse with readings, to explore how theory works. From beginning to end, we will ask how performance makes itself relevant to questions of gender, race, class, sexuality, and disability.

TPS 0264 Performance Ethnography. Performance ethnography is a critical research method that takes seriously the role of the body in doing qualitative research. The sensuous and performing body becomes a central tool in ethically encountering others, and can also function as an interpretive tool to translate research back into the world. Centering the body also means considering the ways the body is read in terms of race, class, gender, sexuality, nationality, and how those differences elicit particular kinds of data. Taking fieldwork as performance, this method also considers the contingency, context, and aesthetics of interactions in the field and of quotidian life. In this class, students will learn of the emergence of performance ethnography; consider the ethics of ethnographic research; try on fieldwork, participant observation, interview, oral history; and explore ethnographies that center performance as method and object of analysis. Participants will locate a field site in the area of focus their study, and will produce both a final essay and performance based on their fieldwork.

TPS 0275 Drama Graduate Internship in Administration, Advocacy, Artmaking and Publishing. No description at this time.

TPS 0291 Innovative Musicals. OVID-19 has had on theatre as we know it. We’ll focus on musicals that were seen as innovative, even revolutionary, in their original productions and explore the ways in which they’ve evolved over time through adaptation and revival. They include Shuffle Along, Oklahoma!, West Side Story, Cabaret, Hair, A Chorus Line, The Wiz, Bring in da Noise, Bring in da Funk, The Lion King, Hedwig and the Angry Inch, Passing Strange, The Scottsboro Boys, Fun Home, Hamilton, and more. We’ll consider how musicals in revival have to be reinvented, rethought, reimagined, even rewritten to be relevant to new audiences. Finally, we’ll discuss the musical as a global phenomenon, the possibility for intercultural engagement within musical narratives, and how musical theatre and film find new expression and distribution through changing media technologies including social media. 

TPS 0293 & 0294 Special Topics. This course explores special topics in theatre or film at the graduate level. A selection of recent offerings listed below.

TPS 0293 Strong Feelings: Affect, Race, and Performance Studies. Feelings are instructive. Listen to what comes to the body when you read the following: "fear, joy, shame, disgust, ugliness, paranoia, guilt”. Feelings and sensations teach us about attachment and transformation, and until recent times, they have remained a largely understudied field in the humanities, and primarily relegated to the field of psychology. This graduate seminar will attune to the intersection of affect studies, performance studies and aesthetic theory, particularly as each field relates to conditions of power across difference. We will consider diverse artistic media that model the aesthetics of sensation as well as teach us how feeling is curated through form. The course includes key affect studies texts by Jose Esteban Muñoz, Sianne Ngai, Lauren Berlant, Dariack Scott, Leticia Alvarado, Cathy Park Hong and Eve Sedgwick, among others.

TPS 0293 Special Topics: Media Studies: Texts and Cultures. Major theories, debates and approaches to media studies: Industry, texts, performance and audiences.

TPS 0293 Colonial Unknowing. This graduate level course is designed to consider the making and unmaking of colonial epistemologies, an active process scholars have referred to as colonial unknowing. Western discourse is underpinned by universalist assumptions on subject-object divides, particularly on fundamental topics like temporality, space, humanism, and nature. Focusing on an undisciplined approach to thinking and learning, we will consider knowledge relationally across decolonial, anti-imperialist and anti-colonial intellectual movements. We will analyze texts and artworks that capture the global and intersecting histories of racialization and colonization, and the active efforts to reject colonization’s overwhelming matrix of power. Our study of artistic interventions will allow us to accrue strategies and methods of challenging colonial extraction, including methods of refusal, illegibility and opacity. Key scholars include Sylvia Wynter, Aníbal Quijano, Frantz Fanon, Tiffany King, Maria Lugones, and Leanne Betasamosake Simpson.

TPS 0293 Queer, Trans, and Feminist Performance. If gender and sexuality, as embodied social categories, significantly inform how we become legible, how and to what ends do performers use bodies and their environments to transform, question, obscure, and expand what we understand as human, or even a body? This class draws on critical race, disability, indigenous, and postcolonial scholars who ask how power, pleasure, and violence are distributed and accessed via the management of gender and sexuality. It pairs these critical texts with artistic works to examine how queer, trans, and feminist theories are made in the flesh.

TPS 0294 Special Topics: Performing the Immigrant Experience. “Immigrants: We get the job done.” These show-stopping lyrics from the Broadway smash Hamilton and the production’s resonance with our contemporary zeitgeist serve as a potent reminder that the history of the United States is truly a story of immigrants. This course examines the impact that such immigrant experiences have had on the narratives told in American theatre, and analyzes the ways in which diasporic communities have used the stage to challenge the power dynamics of a dominant cultural hierarchy. Beginning with the racial and ethnic stereotypes constructed through minstrelsy and vaudeville in the nineteenth century and journeying through the Arab American theatre movement of the present day, students will investigate the construction and performance of immigrant identities by theatre practitioners of the Irish, Italian, Jewish, African, AAPI, Latine/x, and MENASA diasporas in the United States. 

TPS 0294 Indigenous Performance. Graduate performance studies course focusing on themes prevalent in critical Indigenous studies, which includes but is not limited to topics about ecology and animacy, traditional lands, religious and ritualistic practices, the challenges of authenticity, settler-colonialism and racial representation. This course approaches performance and identity through an intersectional framework as we consider feminist, queer, two-spirit and trans Native identities as they inform and shape art making processes. We will read a broad array of theater and performance across the Americas, as well as attend exhibitions and performances throughout the semester. The course offers the opportunity to study the contributions and challenges that Indigenous artists bring to dominant discourses of place, race, gender, sexuality, and nationalism, among others.

TPS 0294 Jewish American Theatre. In a 1921 essay entitled “What the American Theatre Owes the Jew,” the author proclaimed, “The Jew is preeminently the dreamer and the idealist among the races of men,” arguing that Jewish American artists had revolutionized the American stage and lifted it to new heights.  In this class we will explore familiar contemporary works such as Death of a Salesman, Fiddler on the Roof, Angels in America, and Indecent.  We will also delve into less well-known works of the nineteenth and early twentieth centuries that struggled to situate Jewish diasporic traditions in a burgeoning nation that often seemed hostile to immigrant communities. We will explore the following questions (among others) throughout the semester: This course will also challenge you to explore the history of Jewish culture in the U.S.  Representations of “Jewish America” have often been very New York-focused, and popular conceptions of “Jewishness” have frequently defaulted to urban, late nineteenth/twentieth-century identities that overlook more than three hundred years of settlement in the Americas.  Yet to imagine that “Seinfeld,” Woody Allen, or “The Marvelous Mrs. Maisel” represent American Jewish culture is to overlook a complicated history of religious, racial, regional, and cultural conflict. 

TPS 0294 Performance and Globalization. “Globalization” names the conditions that control cross-border flows and interdependence of capital, labor, media, ideology, and the desires that incite and impede them. These conditions are often set into motion by projects of empire building and the mission to occupy, extract, and exploit land, labor, resources, and culture. But sometimes the elements are unruly, subjects ungovernable, and culture too opaque to appropriate. Sometimes the itineraries initiated by global projects create strange encounters in the ocean or shadow economies at the border that were not the intention of the institutional effort. Performance can be a useful method to trace the complicated itineraries of globalization, to capture ongoing and multidirectional movements. Further, performance repertoires travel with globalization: languages, rituals, taste, recipes, etc. Performance is also a tool of empire-building, securing power through embodied pedagogy, and by stripping subjugated people of communication and culture. This graduate seminar offers students an opportunity to follow a performance practice, form, or genre across borders, and to consider how performance and culture are transformed by shifting migrations, attachments, and proximities. Readings and assignments are designed to assist students in applying a variety of analytics to their area of focus.

TPS 0295 Thesis. Guided research on a topic that has been approved as a suitable subject for a master's thesis. Please see departmental website for specific details.

TPS 0296 Thesis. Guided research on a topic that has been approved as a suitable subject for a master's thesis. Please see departmental website for specific details.

TPS 0297 Graduate Research. Guided research on a topic suitable for a doctoral dissertation. Please see departmental website for specific details.

TPS 0298 Graduate Research. Guided research on a topic suitable for a doctoral dissertation. Please see departmental website for specific details.

TPS 0401 Masters Degree Continuation. No description at this time.

TPS 0402 Masters Degree Continuation. No description at this time.

TPS 0405 Grad Teaching Assistant. No description at this time.

TPS 0406 Grad Teaching Assistant. No description at this time.

TPS 0501 Doctoral Degree Continuation. No description at this time.

TPS 0502 Doctoral Degree Continuation. No description at this time.