Download THA 2211

STUDENT LEARNING ASSESSMENT PROGRAM
SUMMARY FORM AY 2012-2013
Degree and
Program Name:
BA, Theatre Arts (Dept. of Theatre Arts)
Submitted By:
Jean K. Wolski, Interim Chair
Please complete a separate worksheet for each academic program
(major, minor) at each level (undergraduate, graduate) in your
department. Worksheets are due to CASA this year by June
14, 2013. Worksheets should be sent electronically to
[email protected] and should also be submitted to your college
dean. For information about assessment or help with your
assessment plans, visit the Assessment webpage at
http://www.eiu.edu/~assess/ or contact Karla Sanders in CASA at
581-6056.
Please use size 10 font or larger.
PART ONE
What are the learning
objectives?
How, where, and when are they
assessed?
What are the expectations?
What are the results?
1. In the area of technical
theatre:
a. Students will be able to
read, draft, and understand
basic theatre drawings.
b. Students will be able to
construct the basic
elements used in
contemporary stage design.
c. Students will develop a
working knowledge of the
tools used in contemporary
theatre
d. Students will have an
understanding of the basic
principles of light.
e. Students will have an
understanding of how to
hang, focus, and maintain
lighting instruments
1. In the area of technical
theatre, direct assessment
measures include:
 Review of a portfolio of the
student’s technical work
(scenic, lighting, costuming,
sound, stage management)
Portfolios are composed by
technical theatre
concentrators, and are
collected and assessed as
per the area professors’
rubrics at multiple points in
the curriculum, beginning in
the student’s freshman year.
Collection occurs in courses
such as THA 2220: Theatre
Seminar I, THA 3220:
Theatre Seminar II, THA
3257: Graphics II/CAD,
1. In the area of technical
theatre, the expectations of the
direct assessment measures as
outlined in column two are:
 Portfolios: By the end of
their senior year,
technical/design
concentrators are expected
to have composed a
portfolio of their technical
and design work that is
concise, clear, and
descriptive, as appropriate
to the professional
standards of the field.
Following our NAST visit,
we will be implementing a
new format during 20132014 that is explained
below.
1. In the area of technical
theatre, the results of the
direct assessment measures
as outlined in column two
are:
 Portfolios: In order to
graduate with an
emphasis in technical
theatre/design, students
must develop a portfolio
that meets or exceeds
the expectations.
 HOT (practicum)
evaluations: In order to
successfully complete
the curriculum, it is
required to meet or
exceed rubric
expectations. If a
student fails to meet
Committee/ person
responsible? How are
results shared?
1. In the area of
technical theatre, Prof.
David Wolski and Prof.
Nicholas Shaw are
primarily responsible for
assessing technical work
in the areas of scenic,
lighting, sound design,
and stage management.
Prof. Karen Eisenhour is
primarily responsible for
assessing technical work
in the costuming area.
Results are communicated
to Prof. Jean Wolski,
Interim Chair, and are
disseminated to the
faculty as appropriate to
the needs of the program.
Selection of students for
commonly used in the
theatre
f. Students will have an
understanding of the
control of light in the
theatre.
g. Students will have an
understanding of the
collaborative relationship
between designers and
directors
h. Students will have a basic 
understanding of how
garments are constructed.
i. Students will have an
understanding of fashion as
it relates to theatrical
performance.
j. Students will be able to
do the necessary the
necessary research for the
preparation and execution
of a concept for a scenic or
costume design. They will
be able to effectively
communicate – both orally
and in writing – the results
of that research and the
development of said
concept.
THA 3434: Basic Theatrical
Design, THA 3357: Scenic
Design, THA 3360: Stage
Lighting, and THA 3358:
Design and History of
Costume. In addition,
courses in the Theatre
Production Topics series
and in Advanced Design
implement this type of
review.
Review of a student’s work
in the “Hands-On Theatre”
(practicum) courses, THA
2001: HOT Costuming I,
THA 2002: HOT
Scenic/Lighting I, THA
30011/30012/30013/30014:
HOT Advanced Costuming
I-IV, and THA
30021/30022/30023/30024:
HOT Advanced Scenic
Lighting I-IV. Work in these
courses involves serving as
a crewmember on a show
and/or working a defined
number of shop hours. In
the Advanced courses,
students are expected to take
on more responsibility (i.e.,
serving as crew head,
working independently on a
construction project, etc.)
The work is typically
assessed orally as per the
rubrics determined by the
design area professors.
Students may take these
courses at any point during
their curriculum, but must



HOT (practicum)
evaluations: All THA
majors are expected to
meet or surpass the rubric
expectations for the
technical work in the areas
of scenic/lighting and
costuming.
Advanced Design:
Students with a
Tech/Design emphasis
who are selected to design
one of the Departmental
productions are expected
to complete and submit
working drawings,
renderings, etc. and
oversee the realization of
the design work.
Appropriate
documentation of the work
is also included in the
student’s final portfolio.
ACTF Participation:
Students who participate
in either the realized
production competition or
the project competition are
expected to develop a
poster presentation of their
work which includes:
1. A written
discussion of the
concept of the
play
2. Evidence of
research
3. Preliminary
sketches
4. Finalized design


said expectations in a
given HOT course, s/he
must repeat that course.
Advanced Design:
Students in Advanced
Design must meet or
exceed all expectations,
or they will be removed
from the project.
ACTF Participation:
This is currently a nongraded project, but for
the past three years,
participation has been
supported through
departmental funding,
as well as a grant from
the Honors College.
Students selected to
present, but do not do so
due to lack of
preparation and/or
commitment, and/or
students who fail to
submit the reflective
journal are not eligible
for funding for future
events.
Advanced Design
assignments are made by
the relevant design
faculty, as is student
participation in the design
competitions at ACTF.
ACTF participants are
also evaluated by outside
adjudicators.

successfully complete the
lower level courses before
they can advance to the
upper level. At minimum, a
THA major, regardless of
concentration, must take the
lower division HOT courses
in Scenic/Lighting and in
Costuming. Narrative
evaluations are archived by
the design area professors
(David Wolski, Karen
Eisenhour, and Nick Shaw).
The Assessment Committee
plans to analyze trends
yearly.
Advanced Design. Students
who have completed the
basic technical courses, plus
a minimum of one design
course, may apply to design
set, lights, costumes, and/or
sound for one of the Theatre
Arts productions. Students
submit a resume and
portfolio, and are selected
by the design area faculty.
Students in this stage of the
design curriculum are
expected to work with the
director and other designers
in production meetings to
develop a concept based on
a thorough analysis of the
play, prepare and present a
research based on that
concept for production,
prepare working
drawings/renderings as
needed per design area, and
Students are expected to
give an oral presentation
and defense of their work
to a panel of judges at the
Regional ACTF Festival.
In addition, all students
who participate in ACTF
are asked to submit
reflective journal of their
experiences at the festival,
with particular attention
paid to the design
response. These are
archived in the Theatre
Arts office.

successfully complete the
execution of the design.
Evaluation of the student’s
work is done throughout the
process both as oral critique
and written narrative, and is
archived by the design area
professors.
ACTF Participation. In the
technical area, students are
encouraged to participate in
the American College
Theatre Festival on two
levels: in the realized design
category, and in the project
category. Whenever
possible, productions with
student designers are
entered in the American
College Theatre Festival.
An outside adjudicator does
an oral and written response
to the production work after
attending a performance of
the play. The student
designer is then invited to
present the work at the
Regional Festival held in
January. Students put
together a poster
presentation of the design
work, and are given a time
to explain and defend their
choices to a panel of judges.
The student receives both
oral critiques and written
responses to their work. In
the project category,
students in a design course
who are deemed sufficiently
2.In the area of
performance/directing:
a. Students will understand
basic acting technique.
b. Students will understand
the importance of
movement in
performance.
c. Students will understand
period style and
movement as it relates to
performance.
d. Students will have a
knowledge of the history
of acting and the
development of
contemporary acting
techniques.
e. Students will understand
the workings of the
human voice.
f. Students will understand
the role of director in the
contemporary theatre.
g. Students will be able to
skilled are encouraged to
enter their work in the
ACTF Regional festival.
Again, the students prepare
a poster presentation of
design work based off of
one of six approved plays,
give an oral defense of the
work to a panel of judges
and receive oral and written
feedback to the work.
Written responses from
ACTF respondents are
archived in the Theatre Arts
office.
2.In the area of
performance/directing, direct
assessment measures include:
 Performance Journals:
Students are introduced to
the performance journal in
the Basic Acting Class, and
are encouraged to keep
journals as they progress
through the Advanced
Acting courses, and for each
production in which they are
cast.
 Evaluation of auditions: All
performance concentrators
are required to audition for
the production season, and
all other concentrators are
strongly encouraged to
audition. Auditions are
required in THA 2220:
Theatre Seminar I, THA
2244: Basic Acting, and
THA 3348: Auditioning
(which is taught on a
2.In the area of
performance/directing, the
expectations of the direct
assessment measures as
outlined in column two are:

Performance Journals:
Students’ performance
journals are expected to
document fundamental
acting principles in early
course/production work,
with the focus on such
items as memorization,
character development,
blocking issues, etc. and
progress as the students
take on more complex and
detailed roles.

Evaluation of auditions:
The expectation is that a
comparison of auditions
from first semester
freshman year to second
semester junior year will
show a maturation in the
2.In the area of
performance/directing, the
results of the direct
assessment measures as
outlined in column two are:
 Performance Journals:
The performance
journal is in the early
stages of
implementation.
Students were
introduced to the
concept in Spring 2010
under Prof. Jean Wolski
in the Beginning Acting
class, but recent changes
in faculty have made the
practice inconsistent.
Informal assessments of
the journals from the
2010 class have
indicated a greater
awareness of process
and product on the part
of the student actors.
2.In the area of
performance/directing,
there is a division
according to assessment
measure:
 Performance Journals:
The performance
journal is initially
assessed by the
faculty member
teaching Basic
Acting, and may be
evaluated by
production directors
throughout the
student’s tenure.
 Evaluation of
auditions: In AY
2011-2012, auditions
were assessed by
Prof. David Wolski
in THA 2220 and
THA 3220, by Prof.
Jenni Passig in THA
2244 and the
h.
i.
analyze play scripts for
production.
Students will develop the
ability to communicate
with other artists in the
field.
Students will be able to
do the necessary research
for the preparation and
execution of a role or for
the direction of a script.
They will be able to
effectively communicate
– both orally and in
writing – the results of
that research and the
progress of the role’s
development.

rotating basis). In the past, a
rubric was developed and
implemented during the
unified audition process. A
reduction in faculty has not
allowed for that for the past
three years. The rubric is
used by Instructors in the
courses listed as a means of
providing feedback to the
students. In Fall 2010, the
Dept. began the practice of
recording student auditions
in THA 2220 during the first
semester of the freshman
year, and recorded once
more for performance
concentrators in THA 3220:
Theatre Seminar II, at the
end of the junior year. These
are used for comparison and
are archived in the Theatre
Arts office.
Review of work in the
“Hands-On Theatre
(practicum) course: THA
2000 (HOT Performance I)
is required of all THA
majors, regardless of
concentration. THA
30001/30002/ 30003/30004
(HOT Advanced
Performance I-IV) can be
used to fulfill the Advanced
practicum requirement, and
are generally taken by all
performance concentrators.
Students my take these at
any point in the curriculum.
Work in these courses


choice of material, the
understanding of audience,
and the use of voice and
movement in the audition.
HOT (practicum)
evaluations: All THA
majors are expected to
meet or surpass the rubric
expectations for
performance work.
ACTF Participation:
Students are expected to
develop two contrasting
scenes plus a monologue,
following the regulations
outlined by KC/ACTF for
the Irene Ryan
competition. Students are
expected to work with a
faculty mentor, who
provides feedback and
coaching throughout the
process. Students are
expected to attend the
feedback sessions
following each round of
the competition, and, if
not selected, to attend the
performance of the
Finalists at the festival. In
addition, all students
who participate in ACTF
are asked to submit
reflective journal of their
experiences at the festival,
with particular attention
paid to the acting
responses, performances,
and workshops. These
journals are archived in



The plan is to reemphasize the
importance of the
journal in the next AY.
Evaluation of auditions:
This area is being
redone, following our
NAST visit and
response. The new
format, outlined below,
will be implemented
2013-2014.
HOT (practicum)
evaluations: In order to
successfully complete
the curriculum, it is
required to meet or
exceed rubric
expectations. If a
student fails to meet
said expectations in a
given HOT course, s/he
must repeat that course.
ACTF Participation:
This is currently a nongraded project, but for
the past two years,
participation has been
supported through
departmental funding,
as well as a grant from
the Honors College.
Students selected to
present, but do not do so
due to lack of
preparation and/or
commitment, and/or
students who fail to
submit the reflective
journal are not eligible


Advanced Acting
Classes. Auditions
are assessed through
casting by directors
of productions.
HOT (practicum)
evaluations:
Evaluations are
submitted by the
faculty director of the
relevant show.
Results are
communicated to the
Interim chair.
ACTF Participation:
Students are
evaluated by outside
adjudicators, as well
as their faculty
mentors.

involves development and
completion of a role(s) in
the Departmental
Production Program. As
with the Technical
practicums, students must
successfully complete each
course before they are
allowed to move on to the
next level. Written and/or
oral assessments of
performance are given
throughout the rehearsal
process by the director of
each production. When
requested, a post mortem
review is also given.
ACTF Participation:
Approximately 50% of the
production season is entered
in the American College
Theatre Festival. For each
entered production, an
outside respondent attends a
performance and conducts a
talkback with the students
involved. Student actors are
encouraged to ask for
feedback both during and
immediately following the
talkback. A written response
is also submitted and is
archived in the Theatre Arts
office. In addition to the
onsite response, 1-2 actors
are chosen to participate in
the Regional Festival’s Irene
Ryan Acting competition.
These students work with
partners, and present scenes
the Theatre Arts office.
for funding for future
events.
3. In the area of history and
literature:
a. Students will have an
understanding of the
major periods of drama
and their relationship to
the contemporary theatre.
b. Students will have an
understanding of the
principal writers and
critics of a given period
and contemporary view
of their works.
c. Students will be able to
read, understand, and
analyze play scripts.
d. Students will have an
and monologues at the
yearly conference. Students
are evaluated by a panel of
judges, with approximately
10% of all competitors
moving on to the semi-final
round. Each round is judged
by a different set of judges,
and an oral response is
provided following each
round of the competition. In
AY 2011-2012, we had
eligible show entered in the
competition, and had eight
actors compete. Since
directing is also part of our
performance area, we
routinely enter any studentdirected production in
ACTF. The student directors
receive both oral and written
feedback from the outside
respondent.
3. In the area of history and
literature, direct assessment
measures include:
 Research Papers: Under the
current curriculum, all THA
majors are required to
complete THA 3751G:
Theatre History I, THA
3752G: Theatre History II,
and THA 3756: 20th Century
Theatre History. This range
of courses provides the
students with a
comprehensive study of
theatrical history and
literature from antiquity
through the close of the 20th
3. In the area of history and
literature, the expectations of
the direct assessment measures
as outlined in column two are:
 Research Papers: Upon
completion of each course
in the sequence, each THA
major is expected to
achieve “Minimally
competent” level for each
research paper exercise.
This translates to “C”
grading level, or a total of
70 out of 100 on the rubric
scoring.
 Symposium: Of all
students writing papers for
3. In the area of history
and literature, the results of
the direct assessment
measures as outlined in
column two are:
 Research Papers: For
AY 2012-2013, of the
students that completed
the assignment, 93%
achieved “minimally
competent” level. This
includes, for the first
time, students enrolled
in required and elective
history courses, so it
cannot be compared to
previous years.
3. In the area of history
and literature, there is a
division according to
assessment measure:
 Research Papers:
Assessment is done
by faculty teaching in
the History sequence.
Prof. Christopher J.
Mitchell is the
primary instructor in
these areas, but Prof.
Mary Yarbrough and
Prof. Jenni Passig
also submit data.
Summary results are
communicated to the
e.
f.
awareness of the
significant plays,
criticism, and theories of
the major periods in
theatre history.
Students will be able to
conduct research in
theatre history and
literature appropriate to
the undergraduate level
and communicate the
results effectively orally
and in writing.
Students will be able to
draw correlation between
the developments and
trends in theatre
throughout various
historical periods and the
world view which
influenced such
developments and trends,
and apply those ideas to
the contemporary theatre
world.

century. In each course,
students generate research
papers of varying lengths
that are assessed via a rubric
adapted from the Electronic
Writing Portfolio’s rubric.
The rubric scores, along
with growth summaries per
student over the course of
their completion of the
sequence are stored
electronically by the
instructor(s) of the courses
and are available for
inspection by the
Assessment/Curriculum
committee upon request. In
addition, students may also
elect to take additional
topic-specific courses in
Theatre History (THA
3753G: American Theatre &
Drama, THA 3754G:
American Drama on Film,
THA 3755: AfricanAmerican Theatre) where
similar requirements are
made.
Theatre Undergraduate
Research Symposium: An
extension of the previous
bullet point, all students
who write a paper in the
disciplines of theatre history
or literature are welcome to
submit papers for
consideration for this annual
exercise, which allows
students to present their
papers in conference format

the THA History
Sequence, it is expected
that between 10-20% will
be qualified to submit to
the Symposium. Of papers
submitted for
consideration, the
acceptance rate is
expected to be high at
present (over 85%) due to
the initial vetting through
the curriculum.
Discussion Evaluation:
Upon completion of each
course of the sequence, it
is expected that all
students will achieve
“minimally competent”
level of discussion
participation. (This
translates to “C” level or a
total score of 70 out of
100 on the rubric scoring.)


Symposium: The 1020% figure cited in
column three has held
for the first six years of
the Symposium’s
existence. The
acceptance rate has
likewise matched
expectations. For the
past three years, the
submissions have been
rather low, and only
from students enrolled
in English courses
rather than the Theatre
History sequence.
Students from the
Theatre History
sequence, however,
have been visible in
their attendance at the
Symposium. We will
continue to strive to
encourage students in
THA to submit, so that
we can continue to
gather data.
Discussion Evaluation:
For AY 2012-2013,
100% of students in the
sequence achieved
“minimally competent”
level. This is the first
year data from both
required and elective
courses is included.


Interim Chair, Prof.
Jean K. Wolski, as
appropriate.
Symposium: The
Symposium is
organized by Prof.
Christopher J.
Mitchell and Prof.
Christopher Wixson
(English), and the
faculty panel has
typically consisted of
two THA and two
ENG faculty. Since
the Symposium is a
public event, a
general audience
hears the results and
responds to the
presentations.
Discussion
Evaluation:
Assessment is
conducted by faculty
teaching the
individual courses, as
listed above.
Summary results are
communicated to the
Interim Chair as
appropriate.

and receive feedback from
audience members, as well
as from a faculty panel of
judges. Students who
achieve the highest level of
competency on the research
papers are particularly
invited to submit for
consideration. Faculty both
vet the papers to determine
invitees to the Symposium
and to decide upon the “Best
Paper” of the Symposium,
both according to the rubric
used in the THA History
Sequence. The papers, as
well as the judges’ scoring
and the scoring trends over
the five years of the
Symposium, are archived
electronically by Prof.
Christopher J. Mitchell and
are available for inspection
by the Assessment/
Curriculum committee upon
request.
Evaluation of Discussion/
Participation in THA history
sequence: Students in the
sequence communicate their
engagement with the course
material in group
discussion, indicating their
level of commitment of and
comprehension of the
historical documents and
plays assigned. Students are
evaluated at the end of the
semester according to a
rubric, which assesses
objectives “a” through “d,”
which translates directly
into the participation portion
of the grade. The rubric
scores, along with growth
summaries per student over
the course of their
completion of the sequence
and overall rubric trends per
academic year, are stored
electronically by the
instructors of the courses,
currently Prof. Christopher
J. Mitchell and Prof. Jenni
Passig, and are available for
inspection by the
Assessment/Curriculum
committee upon request.
(Continue objectives as needed. Cells will expand to accommodate your text.)
PART TWO
Describe your program’s assessment accomplishments since your last report was submitted. Discuss ways in which you have responded to the
CASA Director’s comments on last year’s report or simply describe what assessment work was initiated, continued, or completed.
This past year, we have been involved in preparing the response to our reaccreditation visit from NAST, and as a result are in the early stages of implementing
changes recommended by NAST. We are still in a transitional phase, with shifts in the faculty ranks and the hiring of a new chair. As such, we are still currently
reviewing our assessment strategies, and searching for models that give a clearer view of what we do.
During AY 2011-2012, the Interim Chair attended a Leadership Conference at the Association for Theatre and Higher Education conference in Chicago. While
there, Prof. Jean Wolski was also able to attend several seminars on Assessment in the Arts. In essence, the move in the arts is away from the numeric rubric model
to more digital archiving of performance and narrative assessment techniques. Many of these techniques we already implement in the classroom, and we are
looking in the next few years to expand that assessment to production. Of note:
 In Fall 2010, Prof. David Wolski began teaching the two Theatre Seminar classes and returned to a practice of recording and archiving auditions for each
student in his/her freshman year, and then repeating that process with student in the junior year. Our plan, under the recommended guidelines from NAST,
is to implement a system of analysis for each year a student is enrolled as a Theatre Arts Major or Minor, utilizing the format developed by Professor
Wolski. Students will be required to present each year in their area of concentration, demonstrating a maturing of skill sets and an expanding portfolio. In



addition, students will receive an oral critique/response to their work, and will be given the opportunity to discuss their progress and goals. This
audition/interview process will help determine each student’s placement within the various concentrations, and prepare them for post graduation activities.
The use of reflective journals in Performance and for those attending ACTF has been continued. The number of students participating in ACTF increased
this past year, with the hope of continued expansion.
During our NAST review, we began collecting data from graduates of our program, in the form of a satisfaction survey. This is still underway.
We continue to work on including faculty in the development of assessment data.
It was mentioned in the last report that Teacher Certification had been somewhat overlooked, due, in part, to the lack of majors/minors in that area. We have now
successfully graduated the requisite number of students in the Teacher Certification program, and have been accredited in this area by NAST. An evaluation
matrix has been developed to help with the ISBE assessment documents in this area. A sample of that document is attached.
We have continued to emphasize participation in the Kennedy Center/American College Theatre Festival (ACTF). Participation in this event allows us to bring in
outside respondents who provide feedback and critiques of student work. Participation at the regional festival expands this opportunity, and allows students to see
the work of students from across the four-state region. This past year, we had eight students participate in the Irene Ryan competition, doubling the number from
last year, and increased the number involved in the design competition from one to four. In addition, we had students participate in the Costume Parade during the
opening night event, since the designs from our production of Wiley and the Hairy Man were given a meritorious award and chosen for presentation.
PART THREE
Summarize changes and improvements in curriculum, instruction, and learning that have resulted from the implementation of your assessment
program. How have you used the data? What have you learned? In light of what you have learned through your assessment efforts this year and in
past years, what are your plans for the future?
The biggest change – and it’s still underway – has to be the approach to the entire assessment process. To be frank, the data that was collected in the past provided
very little information to the faculty in terms of strengths and weaknesses in the curriculum. There are many things that we do – and have done for some time – but
that weren’t included in this report. What we are working on are ways to regularize the assessment so that it’s applied across the curriculum – not just in select
classes. Changes that we are looking at for next year:
 A change to the structure of the HOT (practicum) courses. This is due, in part, to the re-numbering of the upper division HOT courses that begins this fall. The
renumbering will allow us to better track a student’s progress through this series of courses, by assigning and assessing learning objectives at each level. In the
past, with the repeatable courses, there was no way to differentiate between sections. We started work on this last year and hope to have a system in place for
2013-2014.
 Establishing assessment of critical thinking. Critical thinking is essential to the development of the theatre artist. Students are expected to apply knowledge
acquired in classes to the practical aspects of production. Collaboration between designers and directors requires the ability to see the interconnectedness of
ideas. In our history classes, we routinely examine theatrical movements as a reflection of cultural, political, and social environments. While students often
enter into discussions in class, and include these elements in their writing, we have not, as yet, established a separate assessment of their abilities in critical
thinking. This, also, is still in process. We fell a bit behind in this area due to shifts in the faculty and faculty working overloads.
 A mid-career assessment of all majors. As part of our NAST review, we examined how our majors end up in the various concentrations. In the past, this has
been done through informal advising. We are looking at implementing a student review that would take place in the Spring semester of the sophomore year.

Students interested in performance would be asked to present their audition pieces and submit their Performance Journals for review. Tech/design students
would give a portfolio presentation. Those interested in directing would need to have achieved a certain level through stage management and assistant
directing experiences. All students would be expected to submit resumes. This would put another level of assessment of skill sets and allow us to steer students
toward the goals they need to achieve in order to be successful in their chosen field. This will be in place 2013-2014.
Introduction of more concrete objectives in global awareness into the curriculum. Again, this is something that is present, to a certain extent, in our
curriculum, primarily through history and literature, but we would like to be able to expand our students’ world view. This can be achieved through season
selection, the reintroduction of our Non-Western course, and a greater emphasis in the histories of the world culture that influenced the developments in
theatre. We were able to achieve this to a certain extent with our season selection for 2012-2013, which included, in addition to more traditional fare, works
that examined gender/LGBT issues, and works from the canon of African-American playwrights. For 2013-2014, we have included a work from Hispanic
Theatre in the season. In all of our productions, we embrace the concept of gender and color-blind casting.
Theatre Arts Evaluation Matrix:
Teacher Preparation and Certification Standards for the Theatre Specialist as prepared by the American Alliance for Theatre and Education and the
Speech Communication Association
Student: Kathryn Hawley
Evaluation Guidelines:
4 = HIGHLY EFFECTIVE: Student is expert in the subject area and up to date on research in the field.
3 = EFFECTIVE: Student knows the subject matter well and is able to apply subject matter in lessons.
2 = IMPROVEMENT NEEDED: Student is somewhat familiar with the subject and has a few ideas on how
to implement knowledge.
1 = DOES NOT MEET STANDARDS: Student has little familiarity with the subject matter and few ideas
on how to implement subject matter into lesson plans.
Guideline
KNOWLEDGE
1.1 Knowledge of theatre as a social and
aesthetic experience
1.2 Understanding of theatre as a collaborative
art form and its relationship to the other arts
1.3 Understanding of the common elements and
vocabulary of theatre, of the interaction of these
elements, and the ability to employ this
knowledge in analysis
1.4 Understanding of the philosophies of theatre,the
development of past and contemporary theatre forms, the major styles of
periods of theatre history and dramatic literature, theories of criticism, and
an
understanding of the fundamental and integral
relationships of all these to the theatre experience.
1.5 Ability to place representative works of theatre
in historical and stylistic contexts and have an
understanding of the cultural milieux in which
4
3
THA 2257
THA 3751
THA 3970
THA 4666
THA 2005
THA 2210
THA 2220
THA 2257
THA 3360
THA 4666
THA 2005
THA 2210
THA 2211
THA 3751
THA 3360
THA 3970
THA 4400
THA 4444
THA 4555
THA 4644
THA 4666
THA 3360
THA 3970
THA 4666
THA 2211
THA 3751
THA 2211
THA 3751
THA 2211
THA 3751
THA 3751
THA 3754
2
1.
they were created.
1.6 Ability to form and defend aesthetic and value
judgements about theatre.
1.7 Ability to employ creative drama and
improvisational techniques with various types
of groups in a variety of settings.
1.8 Ability to perceive, improvise, move, speak
and create characterization in informal and
formal presentations.
1.9 Ability to work with actors in their process
of creation and performance and to coach
them in their work with plays of representative periods, genres and styles in a
variety of media.
1.10 Understanding of dramatic structure in
playmaking and playwriting.
1.11 Ability to direct, including selection of
material, analysis, conceptualization,
casting, conducting rehearsals and
coordinating all elements of production.
1.12 Ability to imagine, articulate and coordinate
the implementation of an overall conceptual
approach to a stage production, including
design, scenery, properties, lighting, sound,
costumes, make up and management.
1.13 Knowledge of the safety rules and procedures
for the technical aspects of theatre, and safe
practices for physical and vocal development.
THA 2257
THA 3360
THA 4400
THA 1134
THA 2244
Trnsfr 3431
THA 3432
THA 3345
THA 1134
THA 2244
Trsnfr 3431
THA 3432
THA 3345
THA 3346
THA 3347
THA 3348
THA 4400
THA 3445
THA 4400
THA 3445
THA 4400
THA 3445
THA 3445
THA 2220
THA 3360
THA 4644
THA 4666
THA 1134
THA 2000
THA 2005
THA 2210
THA 2244
THA 2211
THA 3000
THA 3334
PEDAGOGICAL COMPETENCIES
2.1 Use of a variety of traditional, current and
innovative methods and materials (i.e., textbooks, scripts, technologies) in the development of lessons curriculum and co-curricular
programs in the context of specific community
standards, school time, facilities and monies.
2.2 Use of a variety of effective instructional
strategies and materials appropriate student
developmental level, cultural background
and individual learning styles.
2.3 Assessment of student progress as a means to
evaluate and re-design curriculum and cocurricular programs.
2.4 Interpretation of student progress in a positive,
objective and prompt manner to students, parents,
and administrators.
2.5 Implementation of group processes to create
ensemble playing and collaborative theatre
experiences.
2.6 Direction and coordination of co-curricular events,
festivals, competitions and partnerships to foster
student development, school and community support.
2.7 Identification and explanation of theatre and
media careers and other career opportunities
utilizing theatre skills.
THA 2005
THA 2210
THA 3432
THA 4644
THA 2005
THA 2210
THA 3432
THA 4644
THA 2005
THA 2210
THA 3432
THA 4644
THA 3432
THA 4644
THA 1134
THA 2244
THA 3432
THA 4644
THA 2005
THA 2210
THA 3432
THA 4644
THA 2000
THA 2005
THA 2220
THA 3000
THA 3348
THA 4666
ATTITUDES
3.1 Fostering of own and students’ personal
development using theatre and theatre activities
to promote self-discovery, to build productive and
creative relationships, and to empathize with the
human condition.
3.2 Self-confidence and personal discipline.
3.3 Ability to give, receive and use constructive
criticism and to foster these skills in students.
THA 1134
THA 2005
THA 2210
THA 2244
THA 2257
THA 3344
THA 3345
THA 3346
THA 3347
THA 3360
Trnsfr 3431
THA 3432
THA 4666
THA 1134
THA 2005
THA 2210
THA 2244
THA 2257
THA 3344
THA 3345
THA 3346
THA 3347
THA 3360
Trnsfr 3431
THA 3432
THA 3970
THA 4400
THA 4644
THA 4666
THA 1134
THA 2005
THA 2210
THA 2244
THA 3344
THA 3345
THA 3346
THA 3347
THA 3360
THA 3432
THA 3970
THA 2211
THA 4400
3.4 Understanding that theatre involvement has
the capacity for behavioral and social change.
3.5 Expression of divergent viewpoints.
3.6 Providing involvement opportunities in
theatre for all students.
3.7 Professional growth and discovery by
attending and participating in professional
development opportunities (e.g., professional
organization memberships, conferences,
conventions, workshops, seminars).
3.8 Ability to provide problem-solving
opportunities to stimulate and encourage
creative thinking and expression.
3.9 Sensitivity to and an appreciation for the
diversities among cultures, including an
awareness of plays and other literary works
THA 2244
THA 3360
THA 3432
THA 3970
THA 4666
THA 3344
THA 3360
THA 3970
THA 4400
THA 2000
THA 2210
THA 2220
THA 2257
THA 3000
THA 3360
Trnsfr 3431
THA 3432
THA 2000
THA 2220
THA 2257
THA 3000
THA 3360
THA 3432
THA 4400
THA 4666
KC/ACTF
Participation
THA 1134
THA 2005
THA 2210
THA 2244
THA 3360
THA 4400
THA 4666
THA 2244
THA 3432
THA 3970
THA 3751
THA 3751
THA 3445
THA 2211
THA 2211
THA 3751
for reading, role playing and performance.
3.10 Attendance at diverse theatrical productions
and other arts events to develop aesthetic
appreciation.
3.11 Communication of the responsibility to the
individual in a free society be establishing
ethical standards and promoting ethical
behavior.
3.12 Ability to serve as a theatre resource person
for the school and the community.
THA Course Work listed:
THA 4666
THA 2220
THA 2244
THA 3970
THA 4666
THA 3970
THA 4666
THA 2005
Trnsfr 3431
THA 3432
THA 3970
THA 4666
THA 2211
THA 3751
1134
2000
2002
2003
2004
2005
2210
2211
2220
2244
2257
3000
3220
3334
3344
3345
3346
3347
3348
3360
3432
3445
3751
3754
3970
4400
4444
4555
4644
4666
Stage Movement
Performance Practicum
Scenic/Lighting Practicum I
Costume Practicum
Scenic/Lighting Practicum I
Stage Makeup
Costuming
Stagecraft
Theatre Seminar 1
Basic Acting
Graphics
Advanced Performance Practicum
Theatre Seminar II
PerformingVoice
Scene & Character Study
Topics in Acting: Masks
Stage Dialects
Period Styles
Auditioning
Stage Lighting
Creative Drama
Directing
Theatre History I
American Theatre on Film
Study Abroad: Politics on the Irish Stage
Advanced Directing
Honors Independent Study
Honors Research
Honors Thesis
Honors Seminar
The chart lists standards expected of a Theatre Arts Major. Courses listed next to each standard indicate that the standard was
addressed in the coursework and the level to which the student was successful in achieving that standard, as evaluated by the instructor
of the course/activity. The chart below lists possible THA courses and how standard is met in each course.
Overall evaluation of data for Kathryn Hawley:
The student met or exceeded requirements for each standard listed in multiple courses and activities. In addition to required
coursework, the student presented at conferences, and engaged in Study Abroad activities. Between graduation and her return as a post
bac student to complete her Teacher Certification, the student was active in activities that related to her work in education (i.e. a
professional Children’s Theatre tour) and was able to apply that knowledge upon her return to academia.
Evaluation and Assessment in individual courses based on the following:
1134
2000
2002
2003
2004
2005
2210
2211
2220
2244
2257
3000
3220
Stage Movement
Perfomance Projects/Analysis of group work
Performance Practicum
Perfomance Projects/Analysis of group work
Scenic/Lighting Practicum I
Technical Projects/Analysis of group work
Costume Practicum
Technical Projects/Analysis of group work
Scenic/Lighting Practicum I
Technical Projects/Analysis of group work
Stage Makeup
Technical Projects/Analysis of group work/literary analysis applied to design
Costuming
Technical Projects/Organizational skills/Problem solving
Stagecraft
Technical Projects/Analysis of group work
Theatre Seminar 1
Critical thinking/literary analysis/creative projects
Basic Acting
Perfomance Projects/Analysis of group work
Graphics
Technical aspects of design/literary analysis/critical thinking
Advanced Performance Practicum
Perfomance Projects/Analysis of group work
Theatre Seminar II
Critical thinking/creative projects
3334
3344
3345
3346
3347
3348
3360
3432
3445
3751
3754
3970
4400
4444
4555
4644
4666
PerformingVoice
Performance projects/critical analysis
Scene & Character Study
Perfomance Projects/Analysis of group work
Topics in Acting: Masks
Perfomance Projects/Analysis of group work
Stage Dialects
Perfomance Projects/Analysis of group work
Period Styles
Perfomance Projects/Analysis of group work
Auditioning
Perfomance Projects/Analysis of group work
Stage Lighting
Design/Critical thinking/literary analysis/historical analysis
Creative Drama
Group work/critical thinking/problem solving
Directing
Perfomance Projects/Analysis of group work
Theatre History I
Literary and historical analysis/critical thinking
American Theatre on Film
Literary and historical analysis/critical thinking
Study Abroad: Politics on the Irish Stage
Literary and historical analysis/critical thinking
Advanced Directing
Literary and historical analysis/critical thinking/Leadership
Honors Independent Study
Literary and historical analysis/critical thinking/Leadership
Honors Research
Literary and historical analysis/critical thinking/Leadership
Honors Thesis
Literary and historical analysis/critical thinking/Leadership
Honors Seminar
Literary and historical analysis/critical thinking/Leadership
Part B: Matrix
Teacher Preparation and Certification Standards for the Theatre Specialist
as prepared by the American Alliance for Theatre and Education and the
Speech Communication Association
Guideline
KNOWLEDGE
1.14 Knowledge of theatre as a social
and aesthetic experience
1.15 Understanding of theatre as a collaborative
art form and its relationship to the other arts
1.16 Understanding of the common elements and
vocabulary of theatre, of the interaction of
these elements, and the ability to employ this
knowledge in analysis
1.17 Understanding of the philosophies of theatre,
the development of past and contemporary
theatre forms, the major styles of periods of
theatre history and dramatic literature,
theories of criticism, and an understanding
of the fundamental and integral relationships of all these to the theatre experience.
Course content and experiences
that meet the guideline
THA 1133 (readings) pp. 24-26
THA 2211 (readings and lecture) pp. 38-40
THA 2257 (readings and lecture)pp. 48-52
THA 2258 (readings, lecture, discussions)pp. 53-55
THA 3333 (readings) pp. 56-57
THA 3751 (readings and lecture)pp. 105-107
THA 3752 (readings and lecture) pp. 108-110
THA 3754
THA 3755 (readings and lecture) p.112
THA 2005 (readings and lecture)pp. 29-33
THA 2210 (readings and lecture)pp. 34-37
THA 2211 (readings and lecture)pp. 38-40
THA 2220 (discussions, outside speakers)pp. 41-44
THA 2257 (readings and lecture)pp. 48-52
THA 2258 (readings, lecture, discussions)pp.53-55
THA 3333 (group projects)pp. 56-57
THA 3356 (readings and lecture)pp. 74-77
THA 3357 (readings and lecture)pp. 78-79
THA 3358 (readings and lecture)pp. 80-84
THA 3360 (projects)pp. 85-88
THA 3431 (class project) pp. 93-94
THA 3751 (readings and lecture)pp. 105-107
THA 3752 (readings and lecture)pp. 108-110
THA 1133 (lecture, performance analysis)pp. 24-26
THA 2005 (readings and lecture)pp. 29-33
THA 2210 (readings and lecture)pp. 34-37
THA 2258 (plays, lecture/discussions, projects)pp.53-55
THA 3333 (lecture, performance analysis)pp. 56-57
THA 3358 (readings and lecture)pp.80-84
THA 3751 (readings and lecture) pp. 105-107
THA 3752 (readings and lecture) pp. 108-110
THA 2211 (readings, lecture, projects) pp. 38-40
THA 2258 (plays, lecture/discussions, projects)pp.53-55
THA 3356 (reading, lecture, projects) pp. 74-77
THA 3357 (reading, lecture, projects) pp. 78-79
THA 3360 (reading, lecture, projects) pp. 85-88
THA 3751 (readings, lecture, research) pp. 105-107
THA 3752 (readings, lecture, research) pp. 108-110
THA 3753 (readings, lecture, research) p.112
THA 3755 (readings, lecture, research) p.112
1.18 Ability to place representative works of
theatre in historical and stylistic contexts
and have an understanding of the cultural
milieux in which they were created.
1.19 Ability to form and defend aesthetic and
value judgements about theatre.
1.20 Ability to employ creative drama and
improvisational techniques with various
types of groups in a variety of settings.
1.21 Ability to perceive, improvise, move, speak
and create characterization in informal and
formal presentations.
1.22 Ability to work with actors in their process
of creation and performance and to coach
them in their work with plays of representative periods, genres and styles in a
variety of media.
1.23 Understanding of dramatic structure in
playmaking and playwriting.
1.24 Ability to direct, including selection of
material, analysis, conceptualization,
casting, conducting rehearsals and
coordinating all elements of production.
THA 3356 (concept papers, analysis) pp. 74-77
THA 3357 (concept papers, analysis) pp. 78-79
THA 3360 (concept papers, analysis) pp. 85-88
THA 3751 (readings, lecture, research) pp. 105-107
THA 3752 (readings, lecture, research ) pp. 108-110
THA 3753 (readings, lecture, research) p.112
THA 3755 (readings, lecture, research) p.112
THA 1133 (literary analysis) pp. 24-26
THA 2257 (explain/defend design choices) pp. 48-52
THA 2258 (readings, lecture, discussions) pp. 53-55
THA 3333 (literary analysis) pp. 56-57
THA 3356 (explain/defend design choices) pp. 74-77
THA 3357 (explain/defend design choices) pp. 78-79
THA 3358 (readings, lecture, projects) pp. 80-84
THA 3360 (explain/defend design choices) pp. 85-88
THA 3445 (lecture and discussion)pp. 95-104
THA 1134 (performance projects) pp. 27-28
THA 2244 (improv segments) pp. 45-47
THA 2245 (improv segments)p. 111
THA 3431 (class activities and project) pp. 93-94
THA 3432 (class activities and projects) p.112
THA 1134 (performance projects) pp. 27-28
THA 2244 (performance projects) pp. 45-47
THA 2245 (performance projects) p. 111
THA 3334 (performance projects) pp. 58-59
THA 3344 (demonstration, practical exp.)pp. 60-67
THA 3345 (demonstration, practical exp.)pp. 68-70
THA 3346 (demonstration, practical exp.)pp.71-73
THA 3431 (class activities and project) pp. 93-94
THA 1133 (performance, critique) pp. 24-26
THA 3333 (performance, critique) pp. 56-57
THA 3445 (lecture, readings, practical exp.) pp. 95-104
THA 2258 (readings and lecture) pp. 53-55
THA 3358 (analysis for design) pp. 80-84
THA 3445 (lecture and readings) pp. 95-104
THA 2258 (plays, lecture/discussions, project)pp53-55
THA 3333 (group projects) pp. 56-57
THA 3400 (project) pp. 89-92
THA 3445 (demonstration, practical exer.) pp. 95-104
1.25 Ability to imagine, articulate and coordinate
the implementation of an overall conceptual
approach to a stage production, including
design, scenery, properties, lighting, sound,
costumes, make up and management.
1.26 Knowledge of the safety rules and
procedures for the technical aspects of
theatre, and safe practices for physical and
vocal development.
PEDAGOGICAL COMPETENCIES
2.8 Use of a variety of traditional, current and
innovative methods and materials (i.e., textbooks, scripts, technologies) in the development of lessons curriculum and co-curricular
programs in the context of specific
community standards, school time, facilities
and monies.
2.9 Use of a variety of effective instructional
strategies and materials appropriate student
developmental level, cultural background
and individual learning styles.
2.10 Assessment of student progress as a means to
evaluate and re-design curriculum and cocurricular programs.
2.11 Interpretation of student progress in a
positive, objective and prompt manner to
students, parents, and administrators.
THA 2220 (overall process lecture) pp. 41-44
THA 2258 (plays, lecture/discussions, project)pp. 53-55
THA 3356 (design projects) pp. 74-77
THA 3357 (design projects) pp. 78-79
THA 3358 (lecture, projects) pp. 80-84
THA 3360 (design projects) pp. 85-88
THA 3400 (project) pp. 89-92
THA 1134 (lecture, daily course activities) pp. 27-28
THA 2000 (projects) p. 111
THA 2005 (readings and lecture) pp. 29-33
THA 2210 (readings and lecture) pp. 34-37
THA 2211 (lecture, video) pp. 38-40
THA 2244 (lecture, exercises) pp. 45-47
THA 2245 (lecture, exercises) p. 111
THA 3000 (projects) p. 111
THA 3334 (lecture, daily course activities) pp. 58-59
THA 4000 (projects) p.112
THA 2005 (lecture, demo, projects) pp. 29-33
THA 2210 (lecture, demo, projects) pp. 34-37
THA 3358 (lecture, demo, projects) pp. 80-84
THA 3400 (lecture, projects, observation) pp. 89-92
THA 3432 (lecture, demonstration) p.112
THA 2005 (projects) pp. 29-33
THA 2210 (projects) pp. 34-37
THA 3358 (projects) pp. 80-84
THA 3400 (lecture, projects, observation) pp. 89-92
THA 3432 (lecture, demonstration, activities) p.112
THA 2005 (projects) pp. 29-33
THA 2210 (projects) pp. 34-37
THA 3358 (portfolio) pp. 80-84
THA 3400 (lecture, observation) pp. 89-92
THA 3432 (lecture, demonstration) p.112
THA 3400 (lecture, projects, observation) pp. 89-92
THA 3432 (lecture, demonstration) p.112
2.12 Implementation of group processes to create
ensemble playing and collaborative theatre
experiences.
2.13 Direction and coordination of co-curricular
events, festivals, competitions and
partnerships to foster student development,
school and community support.
2.14 Identification and explanation of theatre and
media careers and other career opportunities
utilizing theatre skills.
ATTITUDES
3.2 Fostering of own and students’ personal
development using theatre and theatre
activities to promote self-discovery, to build
productive and creative relationships, and to
empathize with the human condition.
3.2 Self-confidence and personal discipline.
THA 1134 (group projects) pp. 27-28
THA 2244 (duet scenes) pp. 45-47
THA 2245 (duet, group work) p. 111
THA 3333 (group project) pp. 56-57
THA 3400 (lecture, observation) pp. 89-92
THA 3431 (class project) pp. 93-94
THA 2005 (workshops) pp. 29-33
THA 3400 (lecture, projects) pp. 89-92
THA 3431 (tour) pp. 93-94
THA 2000 (projects) p. 111
THA 2005 (lecture) pp. 29-33
THA 2220 (jobs lecture, research, discussion) pp. 41-44
THA 3000 (projects) p. 111
THA 3358 (lecture) pp. 80-84
THA 4000 (projects) p.112
THA 1133 (discussion, analysis) pp. 24-26
THA 1134 (lecture, creative projects) pp. 27-28
THA 2005 (projects, discussions) pp. 29-33
THA 2210 (projects, discussions) pp. 34-37
THE 2211 (shop work) pp. 38-40
THA 2244 (lecture, discussions, projects) pp. 45-47
THA 2245 (lecture, discussions, projects) p. 111
THA 2257 (shop work, design projects) pp. 48-52
THA 3333 (discussion, analysis) pp. 56-57
THA 3344 (group work, student critiques) pp. 60-67
THA 3345 (group work, student critiques) pp. 68-70
THA 3346 (group work, student critiques) pp.71-73
THA 3356 (shop work, design projects) pp. 74-77
THA 3357 (shop work, design projects) pp. 78-79
THA 3358 (projects, discussions) pp. 80-84
THA 3360 (shop work, design projects) pp. 85-88
THA 3400 (lecture, discussions, projects) pp. 89-92
THA 3431 (class activities, project, tour) pp. 93-94
THA 3432 (class activities) p.112
THA 1133 (project presentations) pp. 24-26
THA 1134 (daily course activities) pp. 27-28
THA 2005 (projects) pp. 29-33
THA 2210 (projects) pp. 34-37
THA 2244 (daily course activities) pp. 45-47
THA 2245 (daily course activities) p. 111
3.3 Ability to give, receive and use constructive
criticism and to foster these skills in students.
3.4 Understanding that theatre involvement has
the capacity for behavioral and social change.
3.5 Expression of divergent viewpoints.
THA 2257 (design projects) pp. 48-52
THA 3333 (project presentations) pp. 56-57
THA 3334 (daily course activities) pp. 58-59
THA 3344 (individual and group projects) pp. 60-67
THA 3345 (individual and group projects) pp. 68-70
THA 3356 (design projects) pp. 74-77
THA 3357 (design projects) pp. 78-79
THA 3358 (projects) pp. 80-84
THA 3360 (design projects) pp. 85-88
THA 3431 (tour) pp. 93-94
THA 3432 (class activities) p.112
THA 1134 (class evaluation of projects) pp. 27-28
THA 2005 (in class evaluations) pp. 29-33
THA 2210 (in class evaluations) pp. 34-37
THA 2244 (class evaluation of projects) pp. 45-47
THA 2245 (class evaluation of projects) p. 111
THA 3334 (class evaluation of projects) pp. 58-59
THA 3344 (in class critiques) pp. 60-67
THA 3345 (in class critiques) pp. 68-70
THA 3346 (in class critiques) pp.71-73
THA 3356 (presentation of designs) pp. 74-77
THA 3357 (presentation of designs) pp. 78-79
THA 3358 (in class evaluations) pp. 80-84
THA 3360 (presentation of designs) pp. 85-88
THA 3400 (project self-evaluations) pp. 89-92
THA 3445 (in class critiques) pp. 95-104
THA 2244 (discussions and creative projects) pp. 45-47
THA 2245 (discussions and creative projects) p. 111
THA 2258 (readings, lecture, discussions) pp. 53-55
THA 3356 (readings and lecture) pp. 74-77
THA 3360 (readings and lecture) pp. 85-88
THA 3432 (lecture) p.112
THA 3751 (readings and lecture) pp. 105-107
THA 3752 (readings and lecture) pp. 108-110
THA 3753 (readings and lecture) p.112
THA 3755 (readings and lecture) p.112
THA 1133 (selection of material) pp. 24-26
THA 2258 (class discussions) pp. 53-55
THA 3333 (selection of material) pp. 56-57
THA 3344 (class discussions) pp. 60-67
3.6 Providing involvement opportunities in
theatre for all students.
3.7 Professional growth and discovery by
attending and participating in professional
development opportunities (e.g., professional
organization memberships, conferences,
conventions, workshops, seminars).
THA 3356 (class discussions, presentations) pp. 74-77
THA 3357 (class discussions, presentations) pp. 78-79
THA 3358 (class discussions, presentations) pp. 80-84
THA 3360 (class discussions, presentations) pp. 85-88
THA 3445 (class discussions) pp. 95-104
THA 3751 (class discussions) pp. 105-107
THA 3752 (class discussions) pp. 108-110
THA 3755 (class discussions) p.112
THA 2000 (crew/cast work) p. 111
THA 2210 (crew work) pp. 34-37
THA 2211 (shop work) pp. 38-40
THA 2220 (shop work) pp. 41-44
THA 2257 (shop work) pp. 48-52
THA 3000 (crew/cast work) p. 111
THA 3356 (shop work) pp. 74-77
THA 3360 (shop work) pp. 85-88
THA 3400 (project) pp. 89-92
THA 3431 (class activities, project, tour) pp. 93-94
THA 3432 (lecture, class activities) p.112
THA 4000 (crew/cast work) p.112
THA 2000 (ACTF participation) p. 111
THA 2210 (USITT participation) pp. 34-37
THA 2211 (USITT participation) pp. 38-40
THA 2257 (USITT participation) pp. 48-52
THA 3000 (ACTF participation) p. 111
THA 3356 (USITT participation) pp. 74-77
THA 3357 (USITT participation) pp. 78-79
THA 3358 (USITT participation) pp. 80-84
THA 3360 (USITT participation) pp. 85-88
THA 3400 (project) pp. 89-92
THA 3432 (AATE participation) p.112
THA 4000 (ACTF participation) p.112
3.8 Ability to provide problem-solving
opportunities to stimulate and encourage
creative thinking and expression.
3.9 Sensitivity to and an appreciation for the
diversities among cultures, including an
awareness of plays and other literary works
for reading, role playing and performance.
3.10 Attendance at diverse theatrical productions
and other arts events to develop aesthetic
appreciation.
3.11 Communication of the responsibility to the
individual in a free society be establishing
ethical standards and promoting ethical
behavior.
3.12 Ability to serve as a theatre resource person
for the school and the community.
THA 1133 (class projects) pp. 24-26
THA 1134 (creative projects) pp. 27-28
THA 2005 (projects) pp. 29-33
THA 2210 (projects) pp. 34-37
THA 2244 (creative projects) pp. 45-47
THA 2245 (creative projects) p. 111
THA 2257 (design projects) pp. 48-52
THA 3333 (class projects) pp. 56-57
THA 3356 (design projects) pp. 74-77
THA 3357 (design projects) pp. 78-79
THA 3358 (design projects) pp. 80-84
THA 3360 (design projects) pp. 85-88
THA 3400 (project) pp. 89-92
THA 3445 (student projects) pp. 95-104
THA 2244 (creative projects) pp. 45-47
THA 2245 (creative projects) p. 111
THA 3432 (lecture) p.112
THA 3751 (readings, lecture, discussions) pp. 105-107
THA 3752 (readings, lecture, discussions) pp. 108-110
THA 3753 (readings, lecture, discussions) p.112
THA 3755 (readings, lecture, discussion) p.112
THA 2211 (attendance at plays, papers) pp. 38-40
THA 2220 (attendance at plays, papers) pp. 41-44
THA 2244 (attendance at plays, papers) pp. 45-47
THA 3751 (attendance at plays, papers) pp. 105-107
THA 3752 (attendance at plays, papers) pp. 108-110
THA 3753 (attendance at plays, papers) p.112
THA 3755 (attendance at plays, papers) p.112
THA 3400 (lecture, discussions) pp. 89-92
THA 3431 (lecture, tour) pp. 93-94
THA 3755 (lecture, discussions)
THA 2005 (community workshops) pp. 29-33
THA 3400 (projects, observation) pp. 89-92
THA 3431 (tour) pp. 93-94
THA 3432 (projects) p.112