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UNDERGRADUATE COURSES:Theater R1B (section 1) - Introduction to Dramatic Literature: Representing Queer Identities in Theater and Film:
How have LGBTQ artists explored the construction and contestation of lesbian, gay, bisexual, transgendered, and queer personhoods? How has the mainstream media explored (and exploited) queer identities? This R1B course explores the interplay between representation and identification via the rapidly developing fields of queer performance and media studies. Throughout, we will investigate the meaning of "queer," as well as its intersections among and across a wide range of identifications. We will consider the role of theater, film, television, and performance not only in the creation of queer histories, communities, and identities, but also as a challenge to structures of normativity. Central to this course will be a number of dramatic and filmic texts, including a handful of mandatory film screenings (Mondays, 3:30-5:30) during the semester. Methodologically, we will draw from both the rich traditions of performance and film theory as well as the theoretical demands of queer and feminist scholarship. Continuing from and expanding upon the skills acquired in R1A, this course will teach students a variety of research methods and skills. Ultimately students will engage in a sustained semester-long original research project, with additional possibilities for exploring class themes through performance practice and/or videomaking. Theater R1B (section 2) - Introduction to Dramatic Literature: Writing in Transit: Narratives of displacement, belonging and cross-cultural encounter: Instructor: Nilgun Bayraktar and Brandi Catanese, TuTh 8-9:30, 30 Dwinelle, 4 units, CCN 88006. Theater R1B (section 3) - Introduction to Dramatic Literature - Visualizing "Race," Racializing Images: The Performance of Photography in the Construction of Social Hierarchies: How do photographs perform? What kinds of claims about "real-ness" and "truth" do photographs make by virtue of how they are produced? What are the limits of these claims, and how have photographers made use of both the claims and their limits in various ways? How has photography participated historically in constructing ideas about race, ethnicity, and social and cultural hierarchies, and what relevance do these historical uses of racial imagery have for the present? In this course, we will be examining theories and practices of photography and visual representation in order to try to answer these questions. Students will continue to develop the research and writing skills introduced in R1A while pursuing individual research projects related to the course theme. Topics include the role of photography in anthropology, racial science, slavery and abolitionist movements, constructions of indigeneity, media and advertising, and ways in which artists and activists have engaged with these histories in their own work. Instructor: Kate Kokontis and Catherine Cole, TuTh 3:30-5, 2030 Valley LSB, 4 units, CCN 88009. Theater R1B (section 4) - Introduction to Dramatic Literature - Performance and Activism: How can performance be used as a tool of activism? In this course, we will focus on contemporary cultural activist practices that address issues of gender, race, immigration, and societal transformation within alternative-globalization and community struggles. By attending to a variety of art/activist practices such as guerilla theater, culture jamming, community-based performance, media hoaxing, adbusting, flash mobs, and graffiti art, we will explore how performance can disturb and reorient culture and politics. Students will continue to develop the critical reading and analytical writing skills learned in R1A while also honing their skills as researchers by conducting individual projects related to the course theme. In addition to course readings and in-class discussions, we will also meet with local artist-activists and attend theater performances and public art events in the Bay Area. Instructor: Shane Boyle and Peter Glazer, TuTh 11-12:30, 125 Dwinelle, 4 units, CCN 88012. Theater R1B (section 5) - Introduction to Dramatic Literature - Japanese Performance: Child-eating grandmas, vengeful warrior ghosts, desperate housewives, and girls in drag: these are but a few of the characters populating the premodern through postmodern Japanese theater. In this course, we will study the performance texts, histories, and cultural contexts of the Noh, Kabuki, and Bunraku traditions as well as contemporary genres such as butoh and the Takarazuka Revue. Supplementary readings will include essays on the role of religion, the formation of aesthetic theories, and the historical fluidity of gender in Japanese theater. Students will continue to hone the skills in critical reading and writing begun in R1A, now with an increased emphasis on research skills such as forming a research question, incorporating secondary source materials, effective library use, and citation practices. The course will also address the challenge of writing across the visual, aural, and kinetic registers of performance. No prior experience with Japanese theater is required. Instructor: Carrie Gaiser Casey and Shannon Steen, MWF 12-1, 279 Dwinelle, 4 units, CCN 88015. Theater R1B (section 6) - Introduction to Dramatic Literature - New Media and Performance: This course introduces students to the impact of digital technologies on contemporary visual, spatial, and performance media. We will look at digital art installations, virtual architecture, and performance art that incorporate newly developed, computerized technologies of immersion, navigation, and simulation in order to expand the definition of the body in space. Attending to these examples, we will pay close attention to issues of liveness, virtuality and interactivity. Throughout the course, students will continue to develop analytical reading and critical writing skills introduced in R1A, including the development of a thesis, the shaping of evidence from various kinds of resources, the interpretation of primary materials, and the assimilation of secondary materials into an original argument. Students will also develop a specific research project, engaging in library resources and archives as well as appropriate research and documentation practices, while learning to write critically about new media art in relation to digital performance. Attendance at university productions and/or other performances and exhibitions outside of class will also be required. Instructor: Jennifer Johung and Peter Glazer, TuTh 12:30-2, 223 Wheeler, 4 units, CCN 88018. Theater 10 - Introduction to Acting: This course is a gateway class to the more advanced acting sequence. It is a theory and performance course which provides an overview of the actor's creative process. Fundamental acting techniques are presented in conjunction with exercises, improvisation, and text work designed to enhance concentration, imagination, vocal resonance and projection as well as self confidence and communication skills. 3 units Instructors: Mel Gordon, Chris Herold, Francine Landes, Christine Nicholson Section 1: TuTh 11-2, 7 Zellerbach Audition required, CCN provided after audition. See Spring Schedule of Classes or departmental website for audition information. Theater 11 - Scene Study and Characterization: In this course the emphasis of the students' studies shifts from the development of basic skills to the development of skills necessary to the character actor. Whereas Theater 10 students are required to develop and perform characters who are close to themselves in age and background, Theater 11 students are encouraged to stretch their abilities into the development of characterizations which lie outside their personal experience. Students continue to employ the basic acting and vocal techniques introduced in Theater 10. Instructors: Christopher Herold and Charlotte McIvor (Marty Berman), 3 units. Section 1: MWF 2-4, 413 Zellerbach Audition required, CCN provided after audition. See Spring Schedule of Classes or departmental website for audition information. Theater 12 - Speech and Vocal Communication Skills: The objective of this course is to foster the finest sound of spoken English through work on basic vocal relaxation techniques, breath, resonance, articulation, and projection practice. The International Phonetic Alphabet (IPA-narrow transcription) is used for purity and clarity of speech sounds. Students will also work on pitch, rate, quality and inflection through a variety of material. Student must attend first class for interview and admission into the course. Theater 25AC - The Drama of American Cultures: Race and Performance: What do we mean when we use the term "race," and how can performance give us a unique lens with through to understand this social system? In this course, we will read and view a number of landmark performances from the last century that have helped to shape and, in some cases, mitigate against, racial dynamics in the United States. We will pay particular attention to the following phenomena: acts of racial impersonation, from the legacy of blackface minstrelsy to contemporary investigations of it; the rise of immigrant theaters for and by Asian and Latino Americans; the relationship of theater and other performance genres to civil rights movements; the representation of interracial relationships; and growing the influence of writers of color on the American arts scene. The goal of this course is to provide students with a more nuanced understanding of what race is and how it functions in America as a central component of our national identity, and how performance has been implicated as both a tool of racism, and a means by which to resist its effects. Instructor: Renu Cappelli, TuTh 11-12:30, 2040 Valley LSB, 4 units, CCN 88039. Enroll in one discussion section: 101: Th 3-4, 83 Dwinelle, CCN 88042 Theater 26 - Issues in World Theater: This course introduces the critical terms and practices of the contemporary study of performance. Several key terms and important genres of artistic and social performance will be engaged; the course will draw critical and disciplinary methods from anthropology and ethnography, from the theory of dance and theater, from literary and cultural theory. Critical and theoretical concepts will be used to analyze a wide range of live and recorded performances, as well as performance texts. Instructor: Shannon Jackson and Monica Stufft, TuTh 9:30-11, 20 Wheeler, 4 units, CCN 88054. Theater 40B - Beginning Modern Dance Technique: Daily course. Meets for 1 1/2 hours. Attendance is required. In this course, students will be introduced to the art of modern dance through physical practice. They will be taught basic modern dance and contemporary dance skills as well as basic ballet technique. The course will immerse students in an engaging, challenging and kinesthetic dance experience that will focus on building movement fundamentals, strength and versatility. Instructor: Ariel Scott and Lisa Wymore, MTWTF 9:30-11, 10 2401 Bancroft, 1 unit, CCN 88057. Theater 60 - Stagecraft: This course is a practical introduction to the theories, approaches, and applications of construction techniques for the scenic environment, and includes attention to such aspects of production as scenery, lights and costumes. Special emphasis will be placed on theatre safety, stage machinery and rigging, scenery building, scenery painting and stage properties. The course involves a laboratory dimension. Students will work on departmental productions. Instructor: Chris Killion, MW 12-1, Zellerbach Playhouse, 3 units, CCN 88060. Theater 110B - Intermediate Acting: This course is an introduction to Shakespeare in performance. It is designed to help the student feel comfortable with both the period and the language of Shakespeare. The focus is on movement, scansion, American Theatre Standard Speech, text analysis, voice and modern acting techniques as they relate to Shakespearean drama. Students are required to perform two contrasting scenes and one monologue. Instructors: Martin Berman and Deborah Sussel, 3 units. Section 1: MWF 11-1, 413 Zellerbach Audition required, CCN provided after audition. See Spring Schedule of Classes or departmental website for audition information.
Instructor: Lura Dolas, TuTh 9:30-12:30, Durham Studio, 3 units. Audition required, CCN provided after audition. See Spring Schedule of Classes or departmental website for audition information. Theater 119 - Performance Theory - Performance Research: Casually, we often think of "theory" as an entity outside of real-world endeavor, that "theory" and "practice" are mutually exclusive arenas. But how might theory form a guideline for "doing?" What are the major ways in which performance theory might frame our way of pursuing performance research? For the academic study of culture? For forms of artistic performance like theater and dance? In this course, we will scrutinize the application of performance theory to our thinking about the world on the page and on the stage. We will build on the concepts such as performativity, identity, actor, costume, sets, drama, and affect to provide new ways of thinking through what we do when we engage in research. This course builds on the foundations of performance theory in Theater 26. It is highly recommended for students considering honors studies projects or pursuing theater or performance studies at the graduate level. Requirements: attendance at all class meetings; weekly reading assignments; one original research paper, one group performance project; one midterm and one final examination (non-cumulative); short assignments. Instructor: Shannon Steen, TuTh 12:30-2, 122 Wheeler, 4 units, CCN 88090. Theater 121 - Performance and Culture - Performance, Gender, and Education in Ancient Greece: In this course, we shall look at the performance practices and educational institutions (broadly conceived) through which girls and boys in ancient Greece were turned into women and men. Through an examination of the religious ceremonies (including rites of passage), military and athletic trainings, musical, dramatic, and rhetorical performances, and courtship customs (both homo- and hetero-sexual), as well as the emergent institution of the "school" itself, we will try to assess the various ways in which male and female identities were imagined, represented, formed, reinforced, and institutionalized during the Archaic and Classical periods (roughly 8oo BCE - 200 CE). Among the ancient texts that we shall read (all in English translation) are the following: Hesiod The Works and Days ; the Homeric Hymn to Demeter; selections from Sappho and other lyric poets; Aeschylus The Suppliant Women; Sophocles Antigone, The Women of Trachis; Euripides Hippolytus, The Trojan Women, The Bacchae; Aristophanes The Clouds, The Thesmophoriazusae; selections from the Hippocratic medical writings; Plato The Symposium, and parts of The Laws; selections from Aristotle's Politics and Quintilian's Institutions of Oratory ; and short works by Plutarch and Xenophon (on Sparta), Lucian (on dance, and on rhetoric), and St Paul. Images and videos will be helpful too for presenting some of the ancient Greek material, especially performances of drama. In addition, we will consider some modern critical discussions of gender, sexuality, performance, identity, and education, which should provide useful frameworks for consideration of this ancient material. Instructor: Mark Griffith, TuTh 2-3:30, 3108 Etcheverry, 4 units, CCN 88093. Theater 126 (section 1) - Performance Literature - Post-Colonial Theater: A new and dynamic field of scholarship, postcolonial studies has been described by theorist Robert Young as "turning the world upside down and looking at it from a different perspective, that is, from the perspective of the disenfranchised people, a majority of whom come from the developing world." This class will examine contemporary plays from Africa, Canada, India, Southeast Asia, the Caribbean, Northern Ireland, and the South Pacific. Dealing with British and American imperialism and its aftermath, these plays explore themes such as globalization, political corruption, race and class relations, gender and sexuality, media representation, slavery, and nationalism. Instructor: Catherine Cole, TuTh 11-12:30, 122 Wheeler, 4 units, CCN 88096. Theater 141B - Intermediate Modern Dance Technique: Daily course. Meets for 1 1/2 hours. Attendance is required. This is the second level of modern dance technique taught in a four-level sequence. The course is designed for students with some dance experience who are ready to refine their skills and take on new kinesthetic challenges. In this course students will: deepen their understanding of dance as an art form; address questions pertaining to individual technical ability and proficiency; learn to take more physical risk; be introduced to basic partnering skills; and more fully develop off-balance coordination, phrasing, and floor work. The prerequisite for this course is Beginning Modern Dance Technique (40A or 40B), or by audition on the first day of class. Instructor: Bliss Kohlmyer, MTWTF 2-3:30, 10 2401 Bancroft, 1 unit, CCN 88108. Theater 142B - Modern Dance Technique Advanced I: Daily course. Meets for 1 1/2 hours. Attendance is required. This is the third level of modern dance technique taught in a four-level sequence. The course will teach students to use sensation to find deeper articulation of the body and to access efficient modes of moving to perform vigorous and specific dance phrases. Warm up includes the use of breath, energy work and improvisation, which leads to the exploration of three-dimensional choreography, space and presence. Working intensively with music as inspiration, instigator and partner, the class progresses from the internal to the performed. The prerequisite for this course is Intermediate Modern Dance Technique (141A or 141B), or by audition on the first day of class. Instructor: Kim Epifano and Todd Eckert, MTWTF 12:30-2, 10 2401 Bancroft, 1 unit, CCN 88111. Theater 143B - Modern Dance Technique Advanced II: Daily course. Meets for 1 1/2 hours. Attendance is required. This is the fourth level of modern dance technique taught in a four-level sequence. The main objective of this course is to expand and refine stylistic range, technical skill and personal expressiveness while dancing. Students will focus on developing qualitative differentiation and rhythmic complexity within the given movement assignments. They are expected to demonstrate a sophisticated understanding of the underlying supportive techniques necessary to perform highly physical and technical dance phrases. There are no prerequisites for this course, however, it is designed for dancers with significant dance training and/or successful completion of 142A and/or 142B. Enrollment into this class is by audition or consent of the instructor. Instructors: Annie Rosenthal Parr and Daisy Stoloff, MTWTF 11-12:30, 10 2401 Bancroft, 1 unit, CCN 88114. Theater 144 - Sources of Movement: This course introduces students to basic underlying sources and techniques necessary for creating dance choreography. It is open to non-majors and can be used to satisfy a pre-requisite for 146A (Choreography). The curriculum consists of assignments that explore various processes for sourcing movement - whether that seed source comes from within the body/psyche or whether that source originates from without. In either case, the student will be creating movement and developing conceptual ideas into choreographic statements. Fundamental to this class is the notion that the body moves through space in dynamic ways - constantly changing patterns and shapes in relationship to the environment, community and culture. It is a chance to begin to locate one's own personal movement style. There are no prerequisites for this class. Admission to this course is by consent of instructor. Theater 146B - Choreography: This course is designed for students interested in expanding their choreographic skills and interested in developing dances for the stage. Students will be expected to create choreography studies using groups of dancers and demonstrate understanding of complex compositional modes. Furthermore, it is required that students show their final dance pieces, created within the course, in the Spring Choreography Workshop production which is held at the end of the semester. Admission to this course is by consent of instructor. Instructor: Jess Curtis, MWF 3:30-5, 10 2401 Bancroft, 3 units, CCN 88120. Theater 149B - Repertory and Production: It is taken as yearlong course with rehearsals in the fall semester and performances in the spring semester. Grades are assigned at the end of the spring term. This course is designed for advanced dancers who are strongly considering dancing professionally after graduation. It requires dedication to the art form, commitment to a demanding rehearsal schedule, and participation in a variety of performances. Performances in the spring term include 1-2 touring and outreach events off campus and participation in the Department of Theater, Dance and Performance Studies annual dance concert entitled Berkeley Dance Project (BDP). BDP is part of the main stage production season. Instructor: Jess Curtis, MW 6-9, 10 2401 Bancroft, .5-3 variable units, CCN 88123. Theater 151B - Theater History (Performance and History): A chronological survey of western theater from 1800 to the present, this course begins with the dismantling of Neo-classical thought in the European theater and the rise of avant-garde and popular forms. Rapidly changing social conditions, cultural tastes, and technological advances in the 19 th and 20 th centuries are studied in tandem with the development of theatrical productions and movements, playmaking, and acting styles. Instructor: Mel Gordon, TuTh 3:30-5, 155 Barrows, 3 units, CCN 88126. Theater 153B - Changing Forms in Twentieth and Twenty-first Century Dance Performance and Culture): A chronological study of a large selection of works by 20 th and 21st century ballet, modern and postmodern choreographers. We emphasize how dance reflects and affects the political climate, social values, religious beliefs, and cultural constructions of gender and sexual identity by examining a variety of dance themes, movement vocabularies, and styles. Topics include the works of Isadora Duncan, Bronislava Nijinska, George Balanchine, Martha Graham, Antony Tudor, Katherine Dunham, Merce Cunningham, Alvin Ailey, Kazuo Ono, Yvonne Rainer, Mark Morris, and Bill T. Jones, among others. Instructor: Jenefer Johnson, TuTh 3:30-5, 175 Barrows, 3 units, CCN 88129. Theater 163 - Stage Directing: This course expands upon and further develops directing principles learned in Theater 162, Fundamentals of Stage Directing . Early scene work will include forms of theater that move beyond strict realism/naturalism. Scenes might be drawn from styles as wide-ranging as Greek drama, French neo-Classicism, Shakespeare, Restoration comedy, Brecht's epic drama, or the Theater of the Absurd. We will focus on developing the directorial imagination, concept, dramaturgy, staging dynamics, and different manifestations of dramatic action. Students will read and analyze plays, participate in in-class workshops, direct at least one scene to be performed in class in the first half of the semester, and direct a final project of material each student will select and cast. These final scenes will be shown and critiqued in class, and then performed for the public as part of a scene showcase at the end of the semester. All interested students must attend the first class to be interviewed by the instructor for admission into the course. The course control number will be released once a class list has been determined. Instructor: Peter Glazer, TuTh 2-4, 7 Zellerbach, 3 units. Theater 166 (section 1) - Special Topics - Video Production for Performance: Though a series of exercise video shoots students learn the fundamentals of video production, including basic optics, camera angles and movement, sound recording, and editing. With an addition emphasis on concept and planning, students prepare for and execute a sustained video project, either the documentation of a staged performance or the generation of a freestanding video program. Instructor: Kwame Braun, TuTh 9-11, 8 Zellerbach, 3 units, CCN 88135. Theater 166 (section 2) - Special Topics- Chekhov: The course is devoted to Chekhov's narrative fiction and dramatic art, and the inner connections between his two major modes of writing. We will read closely his short stories and plays, and situate Chekhov's work both in its contemporary literary and cultural context, and in a larger historical continuum. We will discuss Chekhov's collaboration with the Moscow Art Theater, Konstantin Stanislavsky, and other leading artists of the day. In a larger trans-national perspective, we will follow the evolution of the concept and cultural myth of the 'Chekhovian,' and discuss the lasting impact of Chekhov's art and artistic persona on modern imagination. Instructor: Anna Muza, MWF 12-1, 215 Dwinelle, 4 units, CCN 88138. Theater 166 (section 3) - Special Topics - Interactive Theater: Acting for Social Change: A course in the theory and practice of social justice theater. Designed as a two-semester exploration of complex issues around race, class, sexuality, ability, and status, the first semester is the research and development phase through theater training and techniques to generate scripts that tell the story of UCB's campus climate. Through character development, conflict study, negotiation and facilitation skills, and dramatic structure, participants will learn more about the discipline of theater and its inherent potential for activism, community education, and transformational change work. Because of the nature of the course, we anticipate there will be significant change in the participants as well. Dramatic scripts will arise from research, interviews, and departmental relationships that develop during the semester. The semester will conclude with an informal presentation of the workshop-generated materials. For those who continue into the second semester, we will move into a practicum, taking this scripted material into rehearsal and performance on campus in an interactive theater workshop and training model. Creating an interactive theater ensemble in service to the greater UCB campus is the ultimate goal for this work. Applications can be downloaded below or picked up from the TDPS office in the Dwinelle Annex. This course will be unique in that staff, faculty, and administration are also welcome to become a part of this acting for social change. People interested in facilitation techniques, playwriting, and acting will all have their place in this interactive theater ensemble. Instructor: Michael Mansfield, Mon 5-8, 170 Barrows, 2-3 variable units, CCN 88140. Theater 170 - Theater Laboratory: Non-performing participation in the departmental productions to include: stage management; crew assistance in lighting, sound, properties, costumes, make-up, backstage; technical assistance in scene or costume shop. Theater 171 - Theater Performance: Practice in acting and/or dance in departmental productions in Durham Studio or 7 Zellerbach (Black Box). See director or stage manager of production you are cast in for more information. One unit, P/NP. Theater 172 - Advanced Production Study: This course is a practical introduction to the theory and execution of stage management for the theater. One major production assignment on a department production is required. There will be special emphasis on production organization and problem solving in connection with the production assignment dimension of the course. Instructor: Kate Mattson, MWF 10-11, 126 Dwinelle Annex, 3 units, CCN 88168. Theater 173B - Scenography: Scenic Design for the Theater: This course will cover the basics of scene design for the theater. Students will be instructed on methods of collecting visual research, draw on visual sources, operate within the limitations of available space, and develop a final presentation of ideas in visual form to support the concept and approach to a written work. You will begin to see yourself as a designer of worlds, a creator of environments, and a director of emotions through visual choices made simply by what you choose to show your audience. By carefully choosing the elements that surround your subject, your actor and your art, you will bring greater importance and impact to the final product. Instructor: Rob Morgan, TuTh 10-12, 126 Dwinelle Annex, 3 units, CCN 88174. Theater 174B - Scenography: Costume Design for the Theater: This course gives students the opportunity to apply the basic tools acquired in 174A to more advanced projects. Through lectures and exercises, participants will be encouraged to further their individual aesthetic development. Class projects may include plays, operas, dance, and film scripts. Students are required to furnish basic art supplies and to attend evening performances. Basic figure drawing skills and some theater background are expected. Instructor: Raquel Barreto, TuTh 11-12:30, 8 Zellerbach, 3 units, CCN 88179. Theater 175B - Scenography: Lighting Design for the Theater: An exploration of the theory, process and practice of designing and executing stage lighting for theater and dance from the visualization of the initial concepts through the realization of those concepts on stage. At the end of the semester you will have the foundation for creating a lighting design and communicating that design to production team members. Vectorworks (a CAD program) will be utilized to draft a light plot. Lab hours are required. Prerequisite: 175A or instructor's approval. Instructor: David K.H. Elliott, TuTh 11-12:30, 130 Zellerbach, 4 units, CCN 88180. Theater 176 - Applied Theatrical Design: Students of set, costume, and lighting design are provided experience, structure, and support in the practical application of design to the stage in departmental productions. Interaction and team approach of the designers will be promoted from the earliest stages of conceptualization through the opening night and the run of the production(s). Theater 179 - Supervised Theatrical Design: Students are trained in the working methods of set or costume design; supervised preparation and implementation of designs in the department's production season, from initial discussions through opening night. Theater 180 - Theatrical Realization of Dance: This course relates choreography to theatrical presentation. Laboratory hours are spent in attendance at rehearsal, coaching sessions, and the performance of the dance concert. The course is taught by faculty choreographing the major dance production in the departmental season. Theater 181 - Theatrical Realization of Dramatic Texts: This course relates dramatic texts to theatrical presentation. Laboratory hours will be spent in rehearsal and performance of a play in Zellerbach Playhouse or Durham Studio Theatre. See director or stage manager for more information once you are cast in a production). Theater H195A - B - Honors Course: Theater 196 - University Theatre Workshop:
COURSES OFFERED OUTSIDE OF THE DEPT. OF THEATER, DANCE, AND PERFORMANCE STUDIES WHICH MAY BE OF INTEREST TO THEATER AND DANCE MAJORS AND MINORS AND Ph.D. STUDENTS IN PERFORMANCE STUDIES: TBA.
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