Download Student Learning Assessment Program

STUDENT LEARNING ASSESSMENT PROGRAM
SUMMARY FORM AY 2006-2007
Degree and
Program Name:
BA, Theatre Arts (Dept. of Theatre Arts)
Submitted By:
Christopher J. Mitchell, John T. Oertling
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
15, 2007. 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.
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 the
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 commonly used
in the theatre
f. Students will have an
understanding of the control
of light in the theatre
g. Students will have an
1. In the area of technical
theatre:
As per discussion with Karla
Sanders, an all-faculty
discussion regarding systematic
collection of assessment data in
the curriculum is to take place in
the fall of this year. Assessment
methods of peer institution THA
programs will be studied as well.
This affects all listed below.
a-1. Assessment through the
curriculum. Students take THA
2257, “Graphics for the
Performing Arts”; THA 3357,
“Scenic Design”; and THA
3434, “Basic Theatrical Design.”
Design concentrators also
prepare a portfolio in their
upperclass years for the purposes
of demonstrating to professional
theatres, graduate schools, etc.
that these skills have been
mastered.
a-2. Assessment through the
1. In the area of technical
theatre:
Expectations for performance
goals listed in column one
appear below. Specific
expectations matched to datacollection methods will be
appended in the wake of
discussions mentioned in
column two.
The expectation in all areas
listed is that students will be
able to demonstrate the
technical skills acquired in the
curriculum within the
department’s production
program. The production
program supports the
curriculum of the department.
The production of plays is akin
to the laboratory experience for
the sciences. Students put into
practice those skills learned in
the classroom. They will be
able to continue this
1. In the area of technical
theatre:
Results for performance
goals listed in column one
appear below. Specific
expectations matched to
data-collection methods will
be appended in the wake of
discussions mentioned in
column two.
The results are that upperdivision students
demonstrate superior skills
in the area of technical
production, both within the
department’s production
program and, following
completion of the program,
in professional theatres,
graduate schools, etc.
Committee/ person
responsible? How are
results shared?
1. In the area of
technical theatre:
This section will be
completed in the wake of
discussions mentioned in
column two.
understanding of the
relationship between
designers and director
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
production program. Each
season the department produces
4 faculty-directed plays, a
touring production of a play for
children, and 2 to 6 studentdirected plays. These represent
the widest possible genres,
periods, and styles. In doing set
construction work on these
productions, students evidence
mastery of these abilities.
b-1. Assessment through the
curriculum. Students take
THA 2211, “Stagecraft”; THA
2002, “Hands-on Theatre:
Scenic/Lighting I”; and THA
2004, “Hands-on Theatre:
Scenic/Lighting II.”
b-2. Assessment through the
production program. Same as
a-2 above.
c-1. Assessment through the
curriculum. Same courses as in
b-1 above.
c-2. Assessment through the
production program. Same as
a-2 above.
d-1. Assessment through the
curriculum. Students take THA
3360, “Stage Lighting” as well
as THA 2002/2004 listed in b-1
above.
d-2. Assessment through the
production program. Within
the production program
described in a-2 above, students
evidence mastery of these
abilities in doing lights-related
work (hanging, gelling, focusing,
programming of cues, etc.) on
the productions. Design
concentrators prepare a portfolio
in their upperclass years for the
application upon completion of
the program in professional
theatres, graduate schools, etc.
purposes of demonstrating to
professional theatres, graduate
schools, etc. that these skills
have been mastered.
e-1. Assesment through the
curriculum. Same as d-1
above.
e-2. Assessment through the
production program. Same as
d-2 above.
f-1. Assessment through the
curriculum. Same as d-1
above.
f-2. Assessment through the
production program. Same as
d-2 above.
g-1. Assessment through the
curriculum. All technical
courses listed above as well as
those listed in h-1 and i-2 below
deal with this concern.
g-2. Assessment through the
production program. Within
the production program
described in a-2 above, students
evidence mastery of this ability
in the course of technical work
on the productions of all types
considered in this document.
h-1. Assessment through the
curriculum. Students take THA
2210, “Introduction to
Costuming”; THA 2001,
“Hands-on Theatre: Costume I”;
and THA 2003, “Hands-on
Theatre: Costume II.”
h-2. Assessment through the
production program. Within
the production program
described in a-2 above, students
evidence mastery of this ability
in doing costume construction
work on the productions.
i-1. Assessment through the
curriculum. Students take THA
3358, “Design and History of
Costume” as well as THA
2001/2003 mentioned in h-1
above. Design concentrators
prepare a portfolio in their
upperclass years for the purposes
of demonstrating to professional
theatres, graduate schools, etc.
that these skills have been
mastered.
i-2. Assessment through the
production program. Same as
h-2 above.
2. In the area of
performance:
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
analyze play scripts for
production.
h. Students will develop the
ability to communicate with
other artists in the field.
2. In the area of
performance:
As per discussion with Karla
Sanders, an all-faculty
discussion regarding systematic
collection of assessment data in
the curriculum is to take place in
the fall of this year. Assessment
methods of peer institution THA
programs will be studied as well.
This affects all listed below.
a-1. Assessment through the
curriculum. Students take THA
2244, “Basic Acting”; THA
3344, “Scene and Character
Study”; THA 3345, “Topics in
Acting”; and THA 3348,
“Auditioning.”
a-2. Assessment through the
production program. Each
season the department produces
4 faculty-directed plays, a
touring production of a play for
children, and 2 to 6 studentdirected plays. These represent
the widest possible genres,
periods, and styles.
2. In the area of
performance:
Expectations for performance
goals listed in column one
appear below. Specific
expectations matched to datacollection methods will be
appended in the wake of
discussions mentioned in
column two.
Students demonstrate the
ability to perform in a wide
variety of plays, styles, and
genres, utilizing the skills
learned in the THA curriculum
by applying them throughout a
rigorous departmental
production schedule. They will
be able to continue this
application upon completion of
the program in professional
theatres, graduate schools, etc.
2. In the area of
performance:
Results for performance
goals listed in column one
appear below. Specific
expectations matched to
data-collection methods will
be appended in the wake of
discussions mentioned in
column two.
a. Upper-level students are
more “castable,” can
participate actively in the
rehearsal and performance
process, and contribute in a
positive manner to
productions they participate
in.
b. Students understand the
physiology and kinetics
involved in human
movement.
c. Students understand the
application of movement and
manners as it relates to
historical periods.
d. Students understand the
2. In the area of
performance:
This section will be
completed in the wake of
discussions mentioned in
column two.
b-1. Assessment through the
curriculum. Students take THA
1134, “Stage Movement.”
b-2. Assessment through the
production program. The
students demonstrate their
movement ability in
performances.
c-1. Assessment through the
curriculum. Students take THA
3345, “Topics in Acting”; and
THA 3347, “Topics in Theatre
Movement.”
c-2. Assessment through the
production program. In each
season, the department usually
includes one play of a classical
nature to support this.
d-1. Assessment through the
curriculum. Students take the
four acting classes mentioned in
a-1 above, as well as THA 3751,
“Theatre History I,”; THA 3752,
“Theatre History II”; THA 3753,
“Development of American
Theatre and Drama”; and THA
3756, “Twentieth-Century
Theatre.”
d-2. Assessment through the
production program. They
would apply the skills acquired
in the courses mentioned in d-1
above in the production season
and in scenes produced by the
directing class.
e-1. Assessment through the
curriculum. Students take THA
3334, “Performing Voice.”
e-2. Assessment through the
production program. Students
demonstrate effective use of
voice in performances.
f-1. Assessment through the
application of acting
techniques as they relate to
historical periods.
e. Students understand the
dynamics of the human
voice as it relates to
performance.
f. By serving as both actor
and student director (and, in
some cases, assistant
director and/or stage
manager), students actively
learn the function of the
director in the contemporary
theatre.
g. Since the play script is the
basis for all performance,
students evidence an
integration of script analysis
skills acquired in every
aspect of the theatre
curriculum, as well as in
rehearsal and performance.
h. Since effective
communications (using a
discipline-appropriate
vocabulary) among theatre
artists is at the very heart of
all performance, students
evidence mastery of this
ability through successful
participation in all aspects of
the THA curriculum, as well
as in rehearsal and
performance.
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 the contemporary
view of their works
c. Students will be able to
curriculum. Students take THA
3445, “Directing” and THA
4400, “Advanced Directing
Studies.”
f-2. Assessment through the
production program. Students
participating as performers learn
the role of director in production.
g-1. Assessment through the
curriculum. Students take THA
2258, “Script Analysis” as well
as the theatre history/literature
sequence mentioned in d-1
above.
g-2. Assessment through the
production program. Students’
work as actors in production
enable them to demonstrate
effective analysis of scripts for
performance.
h-1. Assessment through the
curriculum. All theatre classes
in the curriculum encourage the
ability to communicate in
writing and orally.
h-2. Assessment through the
production program. Students
demonstrate these
communicative skills in field
communication in production.
3. In the area of history and
literature:
As per discussion with Karla
Sanders, an all-faculty
discussion regarding systematic
collection of assessment data in
the curriculum is to take place in
the fall of this year. Assessment
methods of peer institution THA
programs will be studied as well.
This affects all listed below.
a-1. Assessment through the
curriculum. Students take THA
3. In the area of history and
literature:
Expectations for performance
goals listed in column one
appear below. Specific
expectations matched to datacollection methods will be
appended in the wake of
discussions mentioned in
column two.
For all areas listed in column
one, students are expected to
demonstrate their mastery of
3. In the area of history
and literature:
Results for performance
goals listed in column one
appear below. Specific
expectations matched to
data-collection methods will
be appended in the wake of
discussions mentioned in
column two.
Within the curriculum,
students produce scholarlyquality papers and defend
3. In the area of history
and literature:
This section will be
completed in the wake of
discussions mentioned in
column two.
read, understand, and analyze
play scripts
d. Students will have an
awareness of the significant
plays, criticism, and theories
of the major periods in theatre
history
2258, “Script Analysis”; THA
3751, “Theatre History I”; THA
3752, “Theatre History II”; THA
3756, “Twentieth-Century
Theatre”; THA 3753,
“Development of American
Theatre and Drama”; and THA
3755, “Survey of AfricanAmerican Theatre.”
a-2. Assessment through the
production program. Each
season the department produces
4 faculty-directed plays, a
touring production of a play for
children, and 2 to 6 studentdirected plays. These represent
the widest possible genres,
periods, and styles. In doing
performance work, technical
work, or dramaturgy on these
productions, students
demonstrate the understanding
cited in column one.
b-1. Assessment through the
curriculum. Same as a-1 above.
b-2. Assessment through the
production program. Same as
a-2 above.
c-1. Assessment through the
curriculum. Same as a-1 above.
c-2. Assessment through the
production program. Same as
a-2 above.
d-1. Assessment through the
curriculum. Same as a-1 above.
d-2. Assessment through the
production program. Same as
a-2 above.
these abilities in written form,
through traditional research
and analytic papers, as well as
in oral argument. They are
also expected to demonstrate
this mastery through
production work (performance,
technical, or dramaturgical) in
the department’s production
program and beyond
(professional theatres, graduate
schools, etc.).
(Continue objectives as needed. Cells will expand to accommodate your text.)
arguments orally at a high
level of scholarly ability.
(This prepares them for
study in the history/literature
area at the graduate level if
they so desire.) Some of the
papers produced are
showcased in our annual
Symposium for
Undergraduate Research.
Also, in the course of
production work (here and
beyond), students
demonstrate mastery of the
abilities cited in column one.
PART TWO
Describe what 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.
As per discussions with Karla Sanders initiated prior to the completion of this year’s report, the chair and faculty of THA will work collaboratively with the
CASA director on an ongoing basis in order to precisely identify the qualitative instruments (and their connected expectations and results) for assessment in the
various components of the THA curriculum.
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?
In response to faculty/chair discussions and the discussions with the NAST (National Association of Schools of Theatre) visitors, the process of
revision to the THA curriculum has been initiated and will continue into academic year 2007-08. This curricular revision discussion was planned
after the new curriculum was instated in 2002. At that time, the decision was made to let the curriculum run for a four-year cycle and to assess its
effectiveness following the completion of that cycle. (It is worthy of note that NAST extended full accreditation to the THA curriculum this year,
and that the visitors’ comments are merely suggestions for further enhancement, and not necessities for continuing accreditation. NAST
accreditation places EIU’s Theatre Arts department in the elite tier of theatre programs in the United States.)
Our assessment plans for the academic year 07-08 have been identified in part one: the ongoing identification of instruments of assessment (as
well as their connected expectations and results), which will be done in a collaborative manner among the CASA director, the chair of THA, and
the THA faculty.)