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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