Self/Stage: The History and Practice of Solo Performance
WF 2:20PM – 3:40PM
Prof. Jennifer Schlueter
This course is both seminar and workshop. Students will study the roots of solo performance and performance art in popular entertainment and the avant garde. Students will also workshop and explore the practice of writing and performing solo works. Course work will include the discussion and analysis of solo performance texts, theory, and history; the viewing and analysis of recorded solo performances; and practical artistic work in dramatic writing and performance. Students will writ short solo performance texts as well as create performance art installations in OSU’s Urban Arts Space. Required readings will include a wide variety of forms of solo performance, from vaudeville scripts to the disparate modern performances of such artists as Will Rogers, Richard Pryor, Miranda July, Reggie Watts, and Taylor Mac. Previous experience in acting, dance, or playwriting is recommended, but not required.
Enrollment requires graduate standing AND instructor permission. Questions? Please email Jen Schlueter at email@example.com
American Voices: Disability, Illness, and the Body in Contemporary Theatre
WF 11:10AM – 12:30PM
Prof. Karen Mozingo
In her introduction to Disability Culture and Community Performance, Petra Kuppers interrogates a rehearsal directive to “find a strange and twisted shape,” illuminating the tensions between able and disabled bodies onstage and off. Like many artists within the disability and performance movement, through her writing and practice Kuppers seeks to imagine a more productive language and discourse around diverse experiences of the body in performance. From Tennessee Williams’ The Glass Menagerie and Maria Irene Fornes’ Fefu and Her Friends to Tony Kushner’s Angels in America and Anna Deavere Smith’s Let Me Down Easy, American playwrights also have represented disability, illness, and the body and explored their meanings within American culture. Similarly, That Uppity Theatre Company and Axis Dance Company have created new paradigms for what kinds of bodies perform and how they interact through performance. In this course, we will examine how these explorations of the body in contemporary theatre reflect a broad range of disability cultures and performance practices and how they articulate what it means to be whole, embodied, and alive on the American stage.
American Voices: Disability, Illness, and the Body in Contemporary Theatre will count toward the Disability Studies minor and GIS. See Disability Studies for more information.
Improvisation: Being Here, Being With, Being Together
W 3:00PM – 5:00PM (1st 7 weeks only)
Prof. Harmony Bench
This course is for undergraduate and MFA students who would like to deepen their own improvisation practice. Students from Theatre, Music, and Art are especially welcome, as are students interested in co-articulating artistic practices and philosophical discourses.
We will explore improvisation as a practice of living and being through which we can encounter some of the most pressing political and philosophical issues that face us in 2014: How can we live together? What can improvisation teach us about living in a space of precarity and/or vulnerability and/or resistance? How can movement give shape to modes of governance? What does it mean to be supported? What are the aesthetics of entrepreneurialism? What is our responsibility to each other, and to the worlds that we inhabit and that inhabit us? How might we collectively practice an ethics of care in and outside of the studio? How are all of these key terms (precarity, governance, support, responsibility, etc.) reflective of physical logics that can inform or be challenged by physical practice?
This course will integrate classroom improvisation workshops, personal (both public and private) practice and reflection, score generation, and online discussion of targeted readings drawn primarily from the disciplines of dance and philosophy.