Development of breath support, vocal expressiveness, and basic diction, articulation, and phonetics skills.

Developing vocal range and intelligibility with text and emotional content. Continued work with consonant and vowel sounds.

Developing analytical and performance skills in heightened language and poetic text to be applied primarily to the works of Shakespeare and other classical playwrights.

Applying diction and phonetics skills to specialized speech styles including accents and dialects.

Applying voice and diction skills to additional classical and contemporary dramatic forms.

Exploring additional vocal skills and resources required for professional acting.

Developing singing skills required for performance in musical theatre productions.

An introduction to the history of the field, principles and practices of arts and cultural management, influence of other fields (sociology, political science, management, art practice) on the development and practices of arts and cultural management and theories of arts and cultural management. The students will learn and explore research methods, seminal literature, leadership models, defining events, the role of arts and cultural managers in society, professional organizations and their roles in defining the field, leading figures, and contemporary issues facing the field and its practitioners.

Completion of an internship, at a professional arts organization, fulfills the internship requirement of the M.F.A in Arts Leadership and Cultural Management. Faculty assists in arranging internships at professional organizations.

Coursework consists of a single major research project, or series of smaller projects, in preparation for the student's M.F.A project. The Advanced Topic Research project, or projects, may or may not be directly related to the candidate’s M.F.A Project, but must serve in some direct way to help prepare the students for the M.F.A Project.

The M.F.A Project is required for all M.F.A students completing the non-thesis option within the Graduate School at UConn. It must include evidence of all aspects of both conceptual learning and skill development training contained in the M.F.A Arts Leadership and Cultural Management program and must be approved by the graduate advisory committee. The M.F.A Project will also form the basis for the Final Examination, conducted by the advisory committee, as required by the Graduate School. The Final Examination will occur in the same semester as the submission of the M.F.A Project.

Seminar-based course. Meets with Arts Leadership and Cultural Management Studio II, III, IV, and V. Case studies, and other forms of research, in arts administration.

Seminar-based course. Meets with Arts Leadership and Cultural Management Studio I, III, IV, and V. Case studies, and other forms of research, in arts administration.

Seminar-based course. Meets with Arts Leadership and Cultural Management Studio I, II, IV, and V. Case studies, and other forms of research, in arts administration.

Seminar-based course. Meets with Arts Leadership and Cultural Management Studio I, II, III, and V. Case studies, and other forms of research, in arts administration. Leadership models and techniques. Research projects required.

Final in series of seminar-based courses. Meets with Arts Administration Studio I, II, III, and IV. Case studies, and other forms of research, in arts administration. Leadership models and techniques. Research projects required.

An introduction to key elements of nonprofit financial management in the arts, including basic accounting, financial statement analysis, and budgeting. Using current articles, reference texts, and business cases, students will develop an understanding of nonprofit accounting and will follow daily transactions through to the financial statements. The relationships between budgeting, financial reporting, and financial statements will be explored using readings and case studies.

This course will provide instruction in basic concepts of governance and leadership of non-profit arts organizations by focusing on how arts organizations are structured, how they function, and a particular emphasis on how they are led.

This course addresses best practices for fund raising and development for arts organizations including practical exercises and case study analysis.

Build knowledge of marketing theories, approaches, and methodologies that are used across all industries and then highlight their application for the arts. Develop an understanding of the following areas: analysis of the competitive environment; developing audience insight and segmentation; positioning and targeting a unique value proposition; developing and delivering the unique value proposition; and evaluating the performance of techniques.

Students in this course will explore the role the arts play in the wide panoply of human experience with particular focus on social justice. Themes addressed include the role of artists, arts managers, and cultural workers in civil society as well as the intersection between policy and art, activism and art, power and art, positive and negative influences of institutions on artists and public, art in the popular domain, equality and diversity of opportunity and participation. Topics are explored with both historic and contemporary lenses and from a variety of cultural perspectives. Visits to area museums and cultural institutions are a required component of the course.

This course provides knowledge of legal reasoning concepts in contemporary law to familiarize students with the history and impact of seminal cases and court decisions on art making, exhibition, performance, transfer of ownership, artists’ rights, copyright, nonprofit law, and other pertinent legal issues. The course covers local, national, and international cases of importance with emphasis on applying knowledge to an arts leadership and cultural management context.

Projects in scenery, lighting and costume design for first-year graduate students in stage design and puppetry. Reading and discussion of various 20th century works on design theory for the theatre.

A survey course focusing on selected dramatic writings from Classic Greek to the 21st century. The application of text analysis tools for the actor will be examined.

A survey of the basic aesthetics available to the modern theatre designer, seen through the lens of designers and design movements of the 20th century. The use of form, color, scale, materials, and their relative importance will be examined, as will the concepts of stylization, theatricality, and abstraction.

Special projects in Theatre Studies, usually related to a production of the Department of Dramatic Arts/Connecticut Repertory Theatre.

Supervised practical experience in professional/regional theatres or academic institutions.

Internships in acting, costuming, lighting, management, media, puppetry, pedagogy and technical theatre.

Independent study under the direction of an appropriate faculty member.

A reading course under the direction of an appropriate staff member.

Study of any topics in Stagecraft, Technical Production, or Sound not included in DRAM 5201-5213.

Emphasis on preparation of plans appropriate for scenic studio bidding procedures.

A study of the planning, management and execution of all technical aspects of production.

Analysis of scenic structures and materials, including stress and vector analysis, static and dynamic loading of beams and battens, truss design, and time/cost studies.

Audio recording and playback techniques used in the preparation of theatrical sound scores.

Study of current electrical technology and applications, including AC theory and codes.

Survey of current software available for application to production management and technical design and production.

Investigates the physical problems and codes involved in integrating theatre technology into the architectural requirements of a performance facility.

Fabrication of unusual stage properties and study of the application of experimental materials.

Technology and materials used in conventional and specialized rigging systems.

Use of materials, equipment and processes required in special fabrication techniques.

Power sources and drive mechanisms for stage machinery including electro-mechanical, hydraulic and pneumatic systems.

An independent project course under the direction of an appropriate faculty or staff member.

The composition and preparation of the MFA Project book/presentation for the student's MFA production in the Department of Dramatic Arts/Connecticut Repertory Theatre.

A reading course under the direction of an appropriate staff member.

Exploration of the various methods of solving the scenic design for plays requiring only one location.

Investigating the range of methods of solving the scenic design for plays with several locations.

A study of one point, two point, three point and measured perspective in order to create pencil sketches for the theatre.

The use of mainstream computer programs to create digital renderings and media for the theatre.

An exploration of architecture and period style from the earliest times to the present.

Scene painting using a variety of media and techniques. The student also explores a number of faux finish techniques.

Application of writing techniques and research methods used in preparation of technical reports and project documentation.

Independent study under the direction of an appropriate faculty or staff member.

The composition and preparation of the MFA Project book/presentation for the student's MFA production in the Department of Dramatic Arts/Connecticut Repertory Theatre.

A reading course under the direction of an appropriate staff member. May be repeated with change in topic.

An examination of the relationship between poetic realism and costume design, explored through a series of design projects.

An examination of the relationship between comedy and costume design, explored through a series of design projects.

An examination of the relationship between tragedy and costume design and also between post modernism and costume design explored through a series of design projects.

An examination of the relationship between fantasy and costume design and also between opera and costume design explored through a series of design projects.

An examination of the relationship between dance and costume design and also between musicals and costume design explored through a series of design projects.

An examination of the relationship between film and costume design, explored through a series of design projects.

Study of any topic in applied costume craft not included in DRAM 5411-5421.

The first part of this course focuses on the study of textile names and properties. The second part of the course explores the relativity of color, color properties, and the interaction of light and color.

Acquiring techniques for creating period effects in make-up and hairstyles. Learning proper wig ventilation and safe casting practices for gelatin and latex prosthetics.

Focusing on the art and mathematical formulas that create a basic sloper for patterning garments. Understanding shaping through dart manipulation, curved seams, and inserted panels or shapes.

Developing techniques, for draping shapes and patterns over a dress-maker's mannequin, using the drape of various fabrics and the straight of the grain (versus the bias) to create specific effects.

(Also offered as DMD 5420.) Provides a basic understanding of electronics, key components, function, construction, and project design.

Independent study under the direction of an appropriate faculty or staff member.

This course provides an avenue for discussion and learning activities related to realized design work and career development. Each week, students will present to the group the most recent development of their work on CRT assignments, D-Series, and professional jobs, allowing for a group discussion of best practices, next steps, and group problem-solving of challenges. This course will additionally be used for ongoing career development work such as regular resume, website, and portfolio critiques, as well as for discussion of career opportunities, contract negotiations, and professional expectations and processes.

The composition and preparation of the MFA Project book/presentation for the student's MFA production in the Department of Dramatic Arts/Connecticut Repertory Theatre.

A reading course under the direction of an appropriate staff member.

Study of any topics in lighting design not included in DRAM 5501-5514. Course may be repeated with change in topic.

The development of lighting designs for single set dramas and musicals.

The methods and process of creating a dance lighting design while learning how to document and communicate ideas, analyze movement, and understand the vocabulary of the dance world.

Developing skills in 2D and 3D digital animation using current media programs for theatrical, concert, corporate and architectural projection.

Advanced study of a lighting designer's role and the design process from interview through completed design. Additional focus on the marketing, financial, and personnel elements of the lighting-design business.

A historical survey of how practitioners of lighting and theater design have been able to develop lighting technology and the concept of lighting design from the time of the Renaissance to the present day. Particular attention will be given to the eras of transition in the technology of producing light: from candlelight to gaslight, and from gaslight to the early electric era. The affects of the new light on performance style and the changes that ensued will be discussed.

Concentrates on the unique conceptual, stylistic, and technical problems of lighting performances that fall outside the category of traditional theatre, dance, and opera productions. Develops proficiency in recognizing and meeting the unique challenges these types of productions pose for designers.

Independent study under the direction of an appropriate faculty or staff member.

The composition and preparation of the MFA Project book/presentation for the student's MFA production in the Department of Dramatic Arts/Connecticut Repertory Theatre.

A reading course under the direction of an appropriate staff member. May be repeated with change in topic.

Study of any topics in puppet design, construction, or performance not covered in DRAM 5601-5618. May be repeated for credit with a change in topic.

Study of Mask design, construction and performance through practical work with face casting, neutral masks, exaggerated masks, and Commedia dell'Arte masks.

Practice in design, sculpting, patterning, and finishing techniques using the "Roser Papier Methode" for Puppetry leading to full realization and performance of the sculptures as puppets.

Strategies for developing and executing the skills involved in mounting Puppet Productions, includes planning, scripting, designing, scheduling, budgeting, and identifying appropriate personnel.

Consideration of a world-wide range of design, construction, and manipulation techniques for several forms of Rod Puppets, with emphasis on Chinese performance skill development.

Research and practical exploration of techniques for presenting Puppet Arts on television, includes planning, design, construction and performance of a short program and development using current video editing software.

Puppet Character design using a full range of fabrication techniques (including sculpting, molding, cast-ing, painting, and carving) to design and fully realize a puppet character.

Exploration and skill development with the pendular attributes of a string puppet using several different performance figures.

Design, construction and performance of a full figure string puppet.

Consideration of a world-wide range of design, construction, and manipulation methods for Hand Puppetry, Glove Puppetry, and mouth-moving skills.

Exploration of U.S. applications of UV (Black Light) and Czech Black Theatre (Curtain of Light) and its practical application to Puppet Theatre.

Examination of Puppet Arts' contributions to the Art Movements of the Early 20th Century, including the production of a Puppet Arts event within a selected "ism."

Research and study of all design, story, construction, and performance elements within worldwide Shadow Theatre for both direct-screen and projected presentations.

Dramaturgical, directorial and design research and study related to current department productions using Puppetry.

An in-depth study of Puppetry as it has been practiced in North America from pre-colonial days to the present.

A worldwide survey of the Puppet Arts as they are practiced in religious expression, societal commentary, cultural celebration, and public entertainment.

Students independently research, conceptualize, and prepare preliminary scripts or designs for future performance projects.

Designed to awaken and develop imaginative and skilled theatrical performers through the exploration of movement concepts, movement-based theatre techniques and devising work. Develop performance skills, imagination, creativity, and ability to devise original and inspired theatre work. Will include a component of a rigorous physicality using elements of creative movement, physical theatre, and yoga to allow freedom of mind and body.

Designed to awaken, develop, and prepare innovative directors in the field of Puppet (but also Alternative) Theatre in the 21st century. Study of the historic and theoretical foundations of theatre directing. Develop understanding of narrative structure. Engagement in practical exercises designed to develop directorial skills.

An examination of the dramatic repertoire of plays written or devised for puppets, puppet dramaturgy, and adapting and writing plays for puppets. This course considers translation from page to stage, develops skills in textual analysis, and considers playtexts as models for composing new plays for puppets.

Independent study under the direction of an appropriate faculty member.

Major artistic contribution(s), (writing, designing, building, directing) to a puppetry production or related theatre or film project in the Department of Dramatic Arts/Connecticut Repertory Theatre.

A reading course under the direction of an appropriate staff member.

Topics and skills not taught in DRAM 5701-5706. May include work with the techniques of specific master acting teachers such as (but not limited to) Sanford Meisner, Stella Adler, Tadashi Suzuki, and Utah Hagan. May be repeated with change of topic.

Acquiring core tools and exploring skills required for professional acting. Applying basic skills to a full-length Shakespeare (or other heightened language) performance project.

Exploring and applying the core techniques required for acting in realistic and naturalistic plays; including the principles of characterization.

Developing and applying skills for acting through poetic language with particular attention paid to acting Shakespeare and the Folio's Guide for the Actor.

Working with techniques and styles for performing comedy; both in scripted plays and other performance modes.

Additional work in analyzing and performing contemporary scripts written for both stage and screen.

Preparation for the world of professional theatre, including development of audition techniques, learning the workings of the industry, and establishing career connections.

Performance study and practice in selected areas of dramatic arts.

Special projects in performance, usually related to a production of the Department of Dramatic Arts/Connecticut Repertory Theatre.

Independent study under the direction of an appropriate faculty member.

Research and preparation for an assigned MFA performance project, usually acting a major role in a production of the Department of Dramatic Arts/Connecticut Repertory Theatre.

Topics and skills not normally included in DRAM 5801-5807. Content may include (but is not limited to) stage violence, armed or unarmed combat, gymnastics, and T'ai Chi. May be repeated with changes in topic.

Exploration of the actor's physical instrument.

Physical conditioning and techniques of characterization.

Exploration of theatrical styles in the dramatic space, including work in the Commedia form.

Physical expression for the actor through expressive mask work and physical storytelling.

Developing styles of comedic physical movement, including the art of clowning.

Continued development of styles and techniques for expressive movement and their application to the world of Physical Theatre.