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FORT LEWIS COLLEGE
DEPARTMENT OF THEATRE
SELF STUDY
FOR PROGRAM REVIEW 2008-2009
Revised 20 February 2009
Contents of Theatre Program Review
I. Introduction
A. Statement on Self-Study Process and Organization
B. Time-Line for Program Review
C. Review Groups
II. Program Information & Analysis
A. Department Mission and Vision as Aligned with Fort Lewis Mission, Vision and
Strategic Directions
B. Accomplishments: Summary of Theatre Program Development Since Last
Review
C. Program Profile: Recruitment, Retention, Grading Practices, Graduation and
Alumni Success
1. Recruitment to Retention
a) Enrollment Data
b) Analysis of Enrollment Data
c) Narrative on Enrollment/Recruitment
2. Retention to Graduation
a) Graduation Data
b) Analysis of Graduation Data
c) Narrative on Retention to Graduation
3. Grading Practices: DFW and A Rates
a) DFW and A Data
b) Explanation of DFW and A Data
4. Student Success
a) Alumni Data
b) Analysis of Alumni Data
c) Narrative on Alumni Relationships and Successes
D. Program Profile: Facilities Status and Development
1. Learning Environment
III. Curriculum Statement and Development
A. Curriculum Development Statement and Status
B. Statements on Student Research
C. Departmental Curriculum Implementation Analysis
1. Analysis of the Four Curricular Options in Theatre
2. Analysis of Ability to Effectively Facilitate Programming and Curriculum
D. Assessment
E. General Education & Campus Curriculum Contributions (Outreach
Responsibilities)
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1.
2.
3.
4.
GT-Pathways Course Development
Thematic Studies and EGC Course Development
CBLR Course Development
Enrichment Course Development
IV. Production Accomplishments
A. Criteria for Season Selection & Development
B. Statement on Production process & Responsibilities
C. Past Season Productions
D. Production Accomplishments – Highlights
V.
Our Future -- Program Development Possibilities, Considerations and Plans
A. Program Directions Analysis
1. Statement on Future Plans: Directions with regard to two, five, and ten
year plans
B. Retention and Recruitment Development Possibilities
C. Statement of purpose of NAST accreditation
D. The Future of our Curriculum
1. Teacher Certification Option
2. Dance Option
3. Music & Performance Option
E. The Future of Fort Lewis College Theatre Productions - “The Front Door to Fort
Lewis College”
F. Assessment Development
G. Facilities Development
VI. Appendices and Other Information for Report To the Board of Trustees
A. List of chair and departmental faculty and staff, including rank/title and how long
each has been at Fort Lewis College
B. Faculty CVs
C. Evidence of Curricular accomplishments during review period
1. Course listings for the department
2. Degree Requirements for all options
3. Course Rotation plan to 2011
4. Departmental Brochure
5. Student Departmental Handbook
D. Evidence of Departmental Accomplishments and Development During Review
Period
1. Logistics and Initiatives Chart
2. A comparative statement: NAST Criteria and Fort Lewis College Theatre
3. Letter from External consultant on NAST Accreditation
E. Evidence of Production accomplishments during review period
1. Performance reviews
2. Planning Calendars
3. Season Brochure
F. RMTA Materials
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I. Introduction
A. Statement on Self-Study Process and Organization
B. Time-Line for Program Review
C. Review Groups
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Section I. Introduction
The purpose of this self study is to provide a document that formalizes our efforts to
analyze our operations, high quality work and future aspirations. This document will
articulate our initiatives in aligning with Fort Lewis College’s mission, vision and strategic
plan; clarify our incentives to develop and improve our artistic, educational, and service
programming; proffer guidelines for our continuing processes in fulfilling our mission,
goals and objectives; and consider our positioning with regard to the criteria set forth by the
National Association of Schools of Theatre toward future accreditation. Furthermore this
self-study clarifies--for ourselves, our administration and governing bodies--essentially
what we want our theatre program to be: an appraisal of our future potential in light of our
present conditions and accomplishments. Ultimately the goal of this self study process is a
clearer understanding of what we are, what we want to be and how we can improve, rather
than defend, what already exists; in other words a renewed common effort to develop and
improve.
A. Statement on Self-Study Process and Organization
This program review draft has been written with design ideas and contributions from
every full-time member of the Department of Theatre as well as advice from Dr. Linda
Schott, Dean of the School of Arts Humanities & Social Sciences. The division of
labor was discussed in Theatre Department meetings and assignments were made as
aligned with individual’s expressed desires as well as areas of expertise, supervision
and focus. Further guidelines of this program review are the Presidential Vision and
Strategic Plan for Fort Lewis College as well as the criteria and self study strategies of
the National Association of Schools of Theatre (NAST).
B. Proposed Timeline for Program Review (Revised 30 January, 2009)
 12 December – First Draft of Self Study Due from Responsible Persons
 5 January – Revised Drafts of Self Study Due From Responsible Persons
 12 January – Final Draft of Self-Study Submitted to Dean of AHSS
 13 February – Final Draft of Self-Study Submitted to Internal Review Group
 20 February – Comments and Recommendations for Revisions from Internal Review
Group
 1 March – Response and Revisions Completed by Department
 1 March – Final Draft of Self-Study Submitted to External Reviewer
 20 March – Comments and Recommendations from External Reviewer
Department of Theatre Program Review
Timeline for Completion
Date
12 December
5 January
12 January
13 February
20 February
Materials to be Completed
First Draft to Dean AHSS
Revised Drafts to Dean AHSS
Final Document to Dean
Final Document to Internal Review Committee
Comments & Recommendations to Dean/Dept.
Responsible Persons
Davis, Lee, Moller
Davis, Lee, Moller
Davis, Lee, Moller
Moller
Internal Review Committee
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1 March
1 March
20 March
Revised Documented completed
Self-Study to External Reviewer
Comments and Recommendations
Davis, Lee, Moller, (Schott)
Moller/Schott
External Reviewer
C. Review Groups
1. Internal Review Team
In addition to the Dean of AHSS, Linda Schott the following people have agreed to serve
as our internal program review team:
Dr. Linda Mack from the Department of Music has worked with the Department
of Theatre for many years and has great knowledge of past collaborations, possible
future collaborations and potential interdisciplinary programming.
Charles Leslie from the Community Concert Hall is a great resource for this
program review as well as our future planning. His expertise and background in
Technical Theatre and Design can inform this review and our planning for
departmental development especially in areas of Technical Theatre where we
oftentimes are faced with challenges.
Michael Martin from the History Department has been a constant resource for our
programming and departmental development. His knowledge of our departmental
initiatives and efforts in collaboration with other departments such as Gen. Ed. and
the Common Reading Experience will make him a great asset to this review and our
future directions especially in areas of scholarly achievement.
2. External Review
With the possibility of accreditation from the National Association of Schools of
Theatre (NAST) on our horizon it would be most wise to solicit feedback from an
external reviewer who can help us to best aligned with NAST criteria. We did have an
external review from a non-NAST consultant, Dr. Frank Trezza from New Paltz
University, to determine whether NAST Accreditation was appropriate for Fort Lewis
College Theatre. The result of this visit was very positive and Dr. Trezza
recommended pursuing NAST accreditation as an appropriate next step for Fort Lewis
College. Further conversations with Jan Timpano at the NAST headquarters revealed
that although NAST will not consider a pre-application visit as part of their review, it
is strongly suggested that applicants solicit appropriate guidance in writing their SelfStudy for NAST from experienced professionals. Fort Lewis College Department of
Theatre is highly regarded by other Colorado and COPLAC institutions. An external
consultant would help us develop this program review so that the good work done on
this program review could potentially be also utilized in a Self Study toward NAST
accreditation. To that end it is my understanding that the Office of the Provost & VicePresident for Academic affairs has approved our request to be reviewed by an
appropriate official from another institution with NAST experience, academic theatre
expertise and as well associations with appropriate professional organizations.
Departmental suggestions include: Dr. James Symons, University of Colorado,
Boulder & Past President of ATHE (Association for Theatre in Higher Education); Dr.
Dan Koetting, Chair Theatre and Film, University of Colorado, Denver.
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II. Program Information and Analysis
A. Department Mission and Vision as Aligned with Fort Lewis Mission, Vision and
Strategic Directions
B. Accomplishments: Summary of Theatre Program Development Since Last
Review
C. Program Profile: Recruitment, Retention, Grading Practices, Graduation and
Alumni Success
1. Recruitment to Retention
a) Enrollment Data
b) Analysis of Enrollment Data
c) Narrative on Enrollment/Recruitment
2. Retention to Graduation
a) Graduation Data
b) Analysis of Graduation Data
c) Narrative on Retention to Graduation
3. Grading Practices: DFW and A Rates
a) DFW and A Data
b) Explanation of DFW and A Data
4. Student Success
a) Alumni Data
b) Analysis of Alumni Data
c) Narrative on Alumni Relationships and Successes
D. Program Profile: Facilities Status and Development
1. Learning Environment
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Section II: Program Information and Analysis
A. Department Mission and Vision as Aligned with Fort Lewis Mission, Vision and
Strategic Plan
In August of 2005 all members of the Department of Theatre sat down together with the
purpose of creating a departmental mission statement that reflected our values, what we
strive to accomplish in our work with students at Fort Lewis College, and which could be
used as a criterion in our future decision making. In creating this statement we looked
closely at the Fort Lewis College Mission Statement--then newly re-written as part of the
strategic initiative by President Bartel--with an attempt to not only align, but to take further
those high goals and directives then initiated for the entire Fort Lewis College campus.
In creating our mission
statement we considered
FORT LEWIS COLLEGE MISSION STATEMENT:
primarily our responsibility
Fort Lewis College offers accessible, high
to create programming that
quality, baccalaureate liberal arts education to a
set us apart from other
diverse student population, preparing citizens for
Colorado and COPLAC
the common good in an increasingly complex
institutions. Therefore we
world.
wrote a mission statement
that clarified our mission to
capitalize on our strengths
and values by contributing beyond traditional theatre programming and toward a global,
multi-cultural and trans-disciplined education for our students. Furthermore, we took
seriously the community based learning foundation of the FLC mission and articulated
further our initiative to create “beyond the college campus” opportunities in not only
regional, but national and international arenas. This Department of Theatre Mission
Statement has proven to be a valuable touchstone in guiding our work.
In addition to being our touchstone, our mission statement has also given us avenues toward
fulfilling the Strategic
Directions as outlined
by President Bartel in
DEPARTMENT OF THEATRE MISSION STATEMENT:
2005. From 2005 to
With a unique multidisciplinary and multicultural
present our department
approach toward performance, we actively pursue an
initiatives and activities
exciting and innovative program for majors in all
have been instigated
disciplines. We create opportunities that allow
with the intention to
students to reach beyond the college campus,
fulfill each of the five
extending regionally, nationally, and internationally.
Strategic Directions in
We strive to design and maintain a program that gives
numerous ways.
students the opportunity to fully explore their
potential as creative, productive, articulate, and
humane contributors to society.
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B. Accomplishments: Summary of Program Development Since the Last Program Review
Since 2001 the Fort Lewis College Department of Theatre has developed, changed, improved
and pushed our potential and possibilities regarding student, faculty and overall department
successes in multiple areas and in significant ways. Before 2005 our initiatives were
determined by the Fort Lewis College mission statement. What we accomplished during
those years is listed below. Beginning in 2005 when President Bartel initiated the college
wide Strategic Plan we utilized those Strategic Directives as a guide for our activities,
directions and initiatives. In this document the theatre department areas of development from
2005 and beyond are divided into sections that correlate with each specific Strategic action as
well as by academic year.
FORT LEWIS COLLEGE MISSION STATEMENT (until 2005)
The mission of Fort Lewis College is to open minds and kindle thought and action by instilling
in students knowledge, a desire to acquire knowledge, the tools for doing so, and an
understanding of how knowledge can be put to use for a common good. The experiences
students have here should help them learn to live wisely and should make a significant
difference in their futures by enabling them to pursue their own educational goals throughout
their lives. They should be able to demonstrate thoughtful scholarship in pursuing and weighing
knowledge. They should be able to communicate and cooperate with others. The College should
also play an active role in the community and the region as a multifaceted learning resource.
(from the 2004-2005 catalog)
2001-2004
 Developed and implement High School Theatre Festival for the purpose of recruiting new students
into our Theatre Program
 Recruited students at San Juan College annual High School Theatre Festival
 Recruited students at various regional conferences such as the Rocky Mountain Theatre Festivals
which took place on the CU Boulder Campus ’02 and the Aurora Campus ‘03
 Actively involved in the development of the TS2 General Education programming and contributed
three courses to Gen. Ed. Programming: TS2R Performance Art; TS2R Non-Western Theatre; and
TS2R Gender and Performance
 Instigated extensive community outreach and awareness programming by collaborating with the
Women’s Resource Center with our Domestic Violence Awareness Month initiative by developing an
original work Through The Fire, a collaboration with area artists Maureen May and composer
Lawrence Nass
 Gave students knowledge of Italian Renaissance literature, mask-work, and commedia dell’arte
techniques through the production of Mandragola
 Gave students knowledge of current issues of learning impaired individuals through the production of
The Boys Next Door
 Instigated community outreach with greater campus and Durango area with our collaborative Dance
Concert
 Increased community outreach and service through the 2001 Summer—Durango Shakespeare Festival
to include Merry Wives of Windsor, and The Tempest
 Enhanced student experience and collaborative learning skills by mounting the musical Kiss Me Kate
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with students from both Theatre and Music Departments (2002)
Gave students knowledge of Classical Greek literature and culture through the production of
Lysistrata (2002)
Gave students tools for devising and creating original work through the production of The Air Inside
The Rose (three one acts) (winter 2002).
Enhanced student learning by bringing in Guest Artists Isabelle Kessler to do workshops and create an
original work.
Collaborated with area musicians creating increased outreach with the production of A Christmas
Memory (fall 2002)
Gave students the opportunity to work with Guest Director Michael Lawler on Our Town (winter
2003)
Increased our community outreach with the production of Alice In Wonderland which toured area
schools in May 2003
Instigated extensive community outreach and awareness programming by collaborating with the
PFlag, 4CGlad, PRISM and other campus and area organizations in producing The Laramie Project –
(fall 2003). Outreach included pre-show discussions with area leaders such as the Mayer of Durango.
Created another original Fort Lewis College Production in our adaptation of The Hobbit (fall 2003)
which gave students tools for devising and creating original work.
Enhanced student experience and collaborative learning skills by mounting the musical A... My Name
Is Alice with students from both Theatre and Music Departments (winter 2004)
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In 2005 the Presidential Strategic Plan was instigated. Following please find the Department of
Theatre accomplishments from 2005 to present as per each Strategic Direction.
STRATEGIC DIRECTION ONE:
“Improving our liberal arts education by structuring new, quality learning experiences,
resulting in an enhanced College reputation.”
2004-2005
 Gave students the opportunity to better understand and explore the Holocaust through the
production Diary of Anne Frank
 Brought in professionals, guest speakers and scholars to support our productions as well as
enhance our patron education:
1. Elizabeth Ingraham-skins-winter ‘05
2. Yukio Tsuji-skins-winter ‘05
 Gave students the opportunity to perform alongside professional performers as part of the
LaMaMa premier season featuring a two week run of the performance of the Fort Lewis College
original work Skins—winter ‘05
 Gave students knowledge of Elizabethan literature and culture through the production of
Shakespeare’s Much Ado about Nothing
2005-2006
 Gave students the opportunity to explore the issues surrounding aids and the gay community
while producing both parts Angels in America – Parts I and II.
 Contributions to General Education in: Thematic Studies, Proposal of three Global Citizenship
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courses, and continued proposals to GT-Pathways courses—winter ’06 & ’07, and in process
Brought in Wendie Malick and Dan Lauria to not only give Guest Artist workshops to our
students, but to perform with students helping them in the production: The Guys
Site visit with consultant Dr. Frank Trezza, Chair of Theatre Arts at Suny, New Paltz external to
the Theatre Department, for the purpose of providing realistic comparison to standards of NAST
(National Association of Schools of Theatre) accrediting body. Our intention was to move
towards NAST Accreditation—winter ‘06
This term two of our best and brightest students had the opportunity to direct other students in
The Complete Works of William Shakespeare - Abridged
2006-2007
 Implementation of a Guest Artist Series giving students, regardless of major, the opportunity to
study extensive specified training from national and international scholars & professionals—fall
‘06
 Invitation to feature Skins to the Hong Kong Performing Arts Festival for Summer ‘07
 Comprehensive Curriculum Revision with four possible options of study which are
interdisciplinary, in-line with student needs & disciplinary trends, & incorporates multiple service
learning components—fall ‘07
 Gave students the skills and knowledge of creating a devised, multi-lingual work as our
American theatre students worked with our Japanese students in creating Folding Paper Cranes
 Gave students the opportunity to work with renowned international theatre artists Bernardo Rey
and Nube Sandoval, from Bogota, Columbia, in multiple ways
o Week long theatre intensive
o Week long sculpture intensive
o Opportunity to assist in two professional performances: Maria Magdalena & Muysua
 Gave students the opportunity to explore ideas of aging and the work of Pulitzer Prize winning
playwright in the production of Three Tall Women
 A few of our best and brightest acting students were given the opportunity for growth through the
production of Waiting for Godot
 Enhanced student experience and collaborative learning skills by mounting the musical The
Wonderful Wizard of Oz with a guest director and students from both Theatre and Music
Departments (winter 2004)
 Continued to bring- in professionals, guest speakers and scholars to support our productions as
well as enhance our patron education:
1. Enoch Brater-Waiting for Godot –winter ‘07
2. Leonard “Red” Bird-Folding Paper Cranes-fall ‘06
2007-2008
 Instigation of Community Based Learning (CBLR) components to our curriculum through
National & International internship possibilities –fall ‘07
 Gave students the opportunity to explore real issues of human rights, in multiple departments by
producing the work Speak Truth to Power which included bringing in professionals, guest
speakers and scholars to support our productions as well as enhance our patron education:
1. Harry Wu-Speak Truth-fall ‘07
2. Marina Pisklakova-Speak Truth’fall ‘07
3. Michael Martin –Dante’s Inferno – winter ‘08
4. Kerry Kennedy-Speak Truth-winter ‘08
 Performance of Speak Truth to Power at Rocky Mountain Theatre Association Festival in Denver
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with guest speaker Kerry Kennedy speaking for our work at Fort Lewis College—winter ‘08
Gave students--over 50 performers and 14 crew and technicians--the opportunity to work with
area professional choreographers in the production of Kinetic Kaleidoscope
Gave students the opportunity to explore women’s issues in the production Win/Lose/Draw
Gave students the opportunity to be a part of the collaborative team in the creation of the original
FLC production Dante’s Inferno – which explored not only the Renaissance Italian culture but
the innovative digital applications using new software.
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2007 Summer
 Students had the opportunity to participate in new play readings with visiting playwrights: Voices
in American Drama: A Summer Play Reading Series
2008-2009
 Gave students the opportunity to explore ideas of psychological stability/instability in the work
Raised in Captivity
 Better utilized of the skills and qualities of potential adjunct faculty in production and classroom
endeavors—successfully on-going
 Increased affiliation with Rocky Mountain Theatre Association through the following:
1. Hosting the ’09 RMTA Festival in February ‘09
2. Representation on the RMTA Board of Directors
3. Collaborating with RMTA Board in hosting and maintaining their web-site
 internships for students in national and international arenas
 Continue to pursue possibilities of NAST Accreditation during
 Continue to bring in high quality professionals, guest speakers and scholars to support our
productions as well as enhance our patron education:
1. Dr. Beth Osnes
2. Bryan Rasmussen
3. Keri Margolis
 Continue ongoing collaborative opportunities for both Music and Theatre students with the
production of Chicago
STRATEGIC DIRECTION TWO
“Establishing a comprehensive enrollment management plan resulting in sustained quality
enrollment and retention.”
2005-2006
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Renovated our Departmental Web-site toward effective recruitment & retention
Renovated theatre Handbook toward effective recruitment & retention
2007-2008
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Developed and implemented the bringing of Freshmen & Sophomores into our production
program (Thea 100). Increased approx. 50% in fall ’06, 55% in fall ’07.
Implemented Scholarships for New and Transfer Students
Increased focus on the development of theatre student non-curricular activities: Orientation,
Year-end ceremonies, awards, pizza parties, etcetera, toward better retention
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2008-2009
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Attended and auditioned potential students at the Thespian conference in Denver
Better disseminate theatre materials to Admissions Office and Officers
Develop collaborative recruitment strategies with the Admissions Office and our new Director
of Admissions
Further development of scholarships, and the facilitation of these scholarships for new and
transfer students
STRATEGIC DIRECTION THREE :
“Improving service to the local community, the Four Corners region, and Colorado through
increased involvement and outreach.”
2003-2004
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The original work developed at Fort Lewis College, Through the Fire, was invited to be be
produced for on the female inmate performers at Lincoln Correctional Facility in Lincoln, Ill.
Fort Lewis College Faculty received congressional honors by the Governor of Illinois, Julia
Flowers, for the work in the correction facility, State of Illinois.
We brought-in high quality Guest Artists/Scholars, Betsy Tobin and Tesha Buss to teach and
perform for campus community as well as greater Durango Community.
2004-2005
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Children’s Theatre performance of Alice in Wonderland performed for area schools by bringing
school children and young adults to visit Fort Lewis College Theatre
We worked with high quality Guest Artists/Scholars Elizabeth Ingraham, Yukio Tsuji, Theresa
Carson to teach and perform for campus community as well as greater Durango Community.
2005-2006
 Children’s Theatre performance traveled to area schools
 We brought-in high quality Guest Artists/Scholars Wendie Malick, Dan Lauria, Bernardo Rey,
and Nube Sandoval to teach and perform for campus community as well as greater Durango
Community.
 Instigated an “Opening Night” reception toward establishing a tradition for Durango Area
Community as well as FL C community through decreased ticket prices and faculty/staff
reception
 Collaborated more and in better ways with campus outreach in print and on the web. These
collaborations can include:
1) Community Calendar on Web
2) Better distribution for FLC-Announce
 Developed staged reading possibilities with L’Amour Family and Mesa Verde National Park
 Increased outreach by soliciting more group sales for tickets and enhancing community
awareness and participation
2006-2007
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Continued staged reading possibilities with L’Amour Family
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2007-2008
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We brought-in high quality Guest Artists/Scholars, Enoch Brater, Leonard “Red” Bird, Marge
Kahn & Richard Malcolm to teach and perform for campus community as well as greater
Durango Community.
Increased community outreach relationships by actively developing relationships and internship
strategies with the Henry Strater theatre, The Diamond Circle Melodrama, the DAC Children’s
museum, Durango Lively Arts, Durango Arts Center Performance Programs, Sandstone
Productions, La MaMa International.
2008-2009
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Children’s Theatre performance of Conference of the Birds will travel to area middle and high
schools and as well bring young adults to visit Fort Lewis College Theatre
 We brought-in high quality Guest Artists/Scholars Beth Osnes and Bryan Rasmussen to teach
and perform for campus community as well as greater Durango Community.
 Community Outreach through internship possibilities were solidified this year through successful
student internships with:
1. La MaMa Umbria Director’s Symposium
2. Sandstone Productions
3. Durango Lively Arts Company
4. Henry Strater Theatre
 Develop summer theatre outreach possibilities with summer ’09 production
Other
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Increased potential High School relationships
Continue developing children’s theatre possibilities by involving more faculty and students
Continue group sales and “Opening Night” traditions.
STRATEGIC DIRECTION FOUR:
“Increased private and public sector financial support of the College, with a particular focus
on fund-raising, grants and sponsored research, and partnering opportunities.”
2005-2006
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We developed a campaign for patron base development for yearly season memberships as well
as long-term levels of support for Theatre
2006-2007
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2007-2008
We achieved great successes in our plan to remunerate our depleted Foundation monies (from
’98 through ’05 Foundation holdings dropped from over $60,000 to $0): through benefit
fundraiser performances, and private donors--over $30,000 was been raised between 2005 and
2007.
 We established a community advisory board for the purpose of building better—“Friends of
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the Theatre” Members included: Jim Dyer, Fritz Geisler, Beau L’Amour, Dennis Johnson,
Anna “Price” Johnson, Diane Wildfang
2008-2009
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“Friends of Theatre” board has not been organized or maintained, this is greatly in need of help.
Felicia Meyer has agreed to be the “Friends” liaison to the department, and we are working
more closely with our Dean, Linda Schott in better facilitating this board
Toward better board functioning the member ship for our “Friends of the Theatre” Members
have changed to be:
1. Fritz Geisler
2. Dennis Johnson
3. Anna “Price” Johnson
4. Jane Gould
5. Laura Dear
6. Felicia Meyer
7. With honorary members
a. Beau L’Amour
b. Wendie Malick
c. Dan Lauria
8. And ex-officio members
a. Jim Foster
b. Linda Schott
c. Margie Dean-Gray
d. Kathryn Moller
Group ticket sales have increased
We are currently developing plans to further develop our patron base through season ticket
sales as well as sponsorship development
Other
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Need to involve entire department in fundraising activities
Explore possibilities of a bi-annual newsletter, perhaps an interdisciplinary arts newsletter with
departments of Art, Music & Theatre
Instigate more donor possibilities on our Website
Explore better, more specific granting sources on federal, State and private levels
Explore possibilities for corporate sponsorships of performances or other departmental projects
STRATEGIC DIRECTION FIVE:
“Enhancing the work environment and campus climate”
2003-2004
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Various improvements to our facility for safety and educational purposes include:
o Installed a new grid for hanging lights
o Updated cyclorama for our Main Stage facility
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2004-2005
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Various improvements to our facility for safety purposes include:
o fire safety improvements in both the scene shop and costume shop
2005-2006
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Developed a functional Theatre Department office wherein multiple students and staff can work
effectively, patrons can find easily, departmental operations are organized efficiently, and
shows our best work
Demolished our old sound booth and re-built new sound control area
Various improvements to our facility for educational and safety purposes include:
o Updated draping in our Gallery “Black-Box” space
2006-2007
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Various improvements to our facility for educational and safety purposes include:
o New sprung hardwood floor in our laboratory/classroom space has resulted in better
learning, and more respect for facilities (Paid for by State of Colorado emergency
funds)
o Re-painting of our shop floor
o Cleaning and updating of our backstage area including cataloging properties and
supplies
o Cleaning and painting storage areas
2007-2008
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Various improvements to our facility for safety purposes include:
o Updated some of the draping for our Main Stage facility
2008-2009
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Various improvements to our facility for safety purposes include:
o Re-covering of the seats in our theatre
o Theatre Draping in the Main Stage Theatre House to cover unsightly walls
o Bracing and strengthening our main stage thrust
o Carpeting and painting in our lobby area.
Overall
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We have learned that a clean, safe, appropriate learning environment truly empowers our
students to learn more effectively and better. It also helps us to recruit and retain students.
Maintenance of our facility has becoming an obstacle to our student’s learning as well as cost
prohibitive as our building gets older. We have to find resources for basic facilities maintenance
as we should no longer utilize departmental operating budget as well as donations for State of
Colorado facility maintenance.
Our Theatre Lobby is the first space that patrons see and as such instigates the first image of not
only our department, but Fort Lewis College. Our lobby will need in the near future: new
carpet, permanent art, sound system, paint.
Our Theatre Laboratory/Learning facility will continue to have needed improvements to
maintain a safe, clean and appropriate environment for students and patrons. These include, but
cannot be limited to:
o updated equipment for sound facilitation
o updated lighting equipment
o maintenance of tools
o equipment for digital/theatre interface
15
Clearly all of the Strategic directives instigate in some way our focus, initiatives and operations
toward increased recruitment activities, higher retention rates, and attention paid to graduation
and student success after graduation. We have actively pursued the highest successes in all of
these areas.
C. Program Profile: Recruitment, Retention, Grading Practices, Graduation and
Alumni Successes
1. Recruitment to Retention
a. Enrollment Data
16
b.
Analysis of Enrollment Data
The numbers of majors that we have in our department is clearly correlated to the
effectiveness of the recruitment activities of the department. The number of majors
that we, in the Department of Theatre have retained over the past seven years has
remained fairly constant. From 2001 to 2005 the activities and initiatives toward
increased student recruitment and higher levels of student retention were really quite
minimal. The activities at this time included facilitating a High School day where High
School groups visited our department, took master classes with our faculty and
watched a performance with a pre-show discussion. These events were poorly
attended, and during this time our Department’s limited recruitment/retention activity
clearly explains the stasis of numbers of majors in our program. In 2003 one of our
faculty members began attending our regional theatre organizational conferences
including the Rocky Mountain Theatre Association (RMTA) and the American
College Theatre Festival Association (ACTFA). These disciplinary organizations
however, have only recently been supported and utilized by our department and Fort
Lewis College as avenues to: actively recruit, audition potential students, or instigate
activities to enhance retention. In 2005/2006 our department began a campaign to raise
our own awareness of recruitment and retention possibilities and initiatives. We
instigated activities such as: scholarship development; increased departmental
involvement in making connections with High Schools; more active involvement in
the RMTA Festival recruitment opportunities; and getting our name and images out to
potential students through increased web presence, media materials, and overt
solicitation at various theatre organizational events.
We are still learning about how to actively, effectively and successfully recruit new
students. We discuss recruitment and retention efforts at our department meetings
every week. I believe that over the past two years, we have been quite successful in
elevating our image and getting out name out to our Colorado/Southwest region. We
are starting to see results from our work in that our student numbers are slowly
increasing. Over the past few years we have learned a great deal about how and where
to find potential students, and how to get our program on the “list” of possibilities for
potential students. Just this past year we sent a faculty member, Felicia Meyer, to the
National Thespian Conference in Denver and learned that this event was the most
attended event in our region where most recruitment occurs. We auditioned over 140
possible Theatre majors and offered scholarships to five outstanding students. I
strongly believe that we are just now figuring out how to recruit and are instigating the
right activities that will help us to get the best and brightest students in our region into
the Theatre program at Fort Lewis College. Although we are still behind the curve, we
have figured out how to function in the market of recruiting theatre students, and we
should see in the next few years a significant increase in students coming to our theatre
program.
Another determining factor in our recruitment and retention statistics is the
professional health and behaviors of our faculty and staff. From 1994 through 2000 we
experienced some un-professional behaviors among our faculty members. These
17
behaviors resulted in polarizing and alienating students, confusing faculty members,
and soiling our campus and community reputation. Many students left the program,
and we lost potential theatre majors. It takes time to overcome the adverse reputation
and student fears connected with inappropriate behaviors. In the above charts, our
numbers of majors were fewer during the years that we experienced inappropriate
faculty behaviors. Concerted efforts have been made to ameliorate faculty/staff
behaviors and raise our standards of professionalism. In 2005 we began to get
administrative support to instigating initiatives toward better professional behaviors. In
particular the utilization of high quality adjunct faculty and the instigation of the Guest
Artist series have given faculty the right kind of mentors to model. Over the past few
years faculty energies have gradually shifted toward an increased focus on student and
departmental successes over personal agendas. This change in behaviors will result in
an increase in student majors.
c. Narrative on Enrollment/Recruitment
Our curriculum revision option system was designed to answer the needs of potential
students. That we have four options in theatre gives us the ability to compete with the
programming at other Colorado, Southwest and COPLAC institutions. Given this
strong curricular foundation we have explored various initiatives toward actively and
personally recruiting students. These activities have included:









Our Theatre Internship course gives potential students the professional
experience and networking possibilities that they are looking for in a college
theatre program thus helping us to recruit more successfully.
Increased number of scholarships for incoming Freshman
High School Master Classes & Performance, where high schools are invited in
to take a day of workshops from our faculty culminating in attending one of
our performances have been instigated for a number of years. This effort is
not really working as not many High Schools attend.
High School Matinees – For most of our productions we add in a mid-week
matinee solely for High School groups to attend. This effort seems to work
well as many High Schools attend.
Touring productions – Occasionally we are able to take productions out to the
schools to perform. This term, winter ’09, we will be taking a work to area
Middle and High Schools.
Increased involvement in regional and national theatre conferences and
festivals where we utilize display possibilities is an on-going effort.
Renovation of our Departmental Web-site toward effective recruitment &
retention has also helped to get information about our department out.
Creation of a new departmental brochure is also helpful as we are able to get
information and visuals into the hands of potential students.
Renovation of our Department of Theatre Handbook toward effective
recruitment & retention is one of our best ways to give students information
about our department so that they can make the best decision.
18

Effective distribution of this handbook and brochures– We have consulted
with admissions to help us find the right contacts for distributing our
materials.
There are two most successful efforts in our recruiting this year, ’08-’09 that are
important to highlight.
1. We were represented at the National Thespian Conference in Denver. Here we
auditioned over 140 students who were interested in Fort Lewis College
Theatre. Thanks to the generous donations of our supporters we were able to
give 5 scholarships, with 10 invitations to other potential students. We are still
waiting for these particular students to be admitted.
2. This year, during February ’09, Fort Lewis College Theatre hosted the Rocky
Mountain Theatre Association Festival. Over 270 potential students attended the
festival, visiting our campus and into our theatre environment. We certainly
took advantage of this opportunity to heavily recruit.
2. Retention to Graduation
a. Graduation Data
Retention and Graduation Rates by Major Declared First Freshman Term
2001-2006 Cohorts
School of Arts, Humanities, and Social Sciences
-- Continuation Rates --
FLC TOTAL
Cohort
Head
Year
Count
to_2nd_Yr
to_3rd_Yr
in_4_Yrs
to_5th_Yr
in_5_Yrs
2001
1049
57%
43%
13%
24%
2002
1027
60%
45%
14%
23%
2003
884
62%
47%
15%
24%
2004
926
61%
45%
2005
833
57%
45%
2006
844
56%
927
59%
45%
14%
2001
206
67%
51%
18%
2002
188
59%
46%
2003
160
66%
50%
2004
188
60%
43%
2005
2006
149
154
63%
55%
46%
Average
AHSS TOTAL
Average
5005-Theater Arts
%Continued %Continued %Graduated %Continued %Graduated %Continued %Graduated %Continued
to_6th_Yr
in_6_Yrs
to_7th_Yr
27%
8%
30%
4%
28%
8%
23%
28%
8%
30%
4%
27%
32%
7%
35%
4%
16%
22%
30%
8%
12%
25%
174
61%
47%
15%
25%
31%
7%
35%
4%
2001
8
75%
38%
0%
25%
25%
0%
25%
0%
2002
14
50%
43%
0%
29%
14%
14%
2003
13
69%
38%
0%
33%
2004
9
67%
22%
2005
7
71%
43%
6
83%
10
69%
0%
29%
20%
7%
2006
Average
--------- Cumulative Graduation Rates and Continuation Rates ----------
37%
25%
19
0%
20
b. Analysis of Graduation Data
Regarding numbers of graduates from our program we need to unpack our effectiveness,
and ineffectiveness regarding retention. I do not believe that we discussed retention in
our department until a few years ago. As such, retention efforts were for the most part
non-existent. This non-activity clearly explains the stasis in our graduation rates. This
inactivity is no longer the case. In August of 2005 we began addressing retention issues
at a department retreat. Since this retreat we have discussed retention at every
department meeting. As mentioned above in this document our retention activities have
increased dramatically as we are figuring out what works, how to keep students
involved, connected, and invested in their education. The list of activities is quite
extensive but includes:
 new scholarships for incoming freshmen
 increase in scholarships for continuing students
 enhanced leadership responsibilities for incoming scholarship students
 group advising
 organizational meetings for production students every term for retention
purposes
 various informational and celebratory gatherings
 increased involvement in honors activities
 overall increased caring for our students
While these activities are fairly new to our programming, we are just beginning to see
the benefits in our student’s attitudes. Most significant to our student retention has been
the curricular changes, specifically the courses THEA 157/357 Guest Artist Series and
THEA 460 Theatre Internships. These two courses have given our students significant
high quality professional and “real world” experiences that empowering their belief in
their major choice and their own work. Because our retention initiatives are new, we
cannot immediately see the results. Due to our initiatives I feel confident that we will
over the next few years see a significant increase in our student retention rates toward
graduation.
c. Narrative on Retention to Graduation
Our work with curriculum revision and instigating the four options in theatre has
certainly answered the needs of many students thus keeping them at Fort Lewis
College. We have also instigated many “events” designed to give students knowledge
about our programming and their potential involvement in our department and our
discipline. Similarly, we have also designed programming intended to give students a
higher level of ownership and belonging in their departmental “family” as well as
powerful tools to belong to the disciplinary family. Some of this programming includes:
 The required Sophomore Seminar course is focused on student professional
development and requires that students build their professional tools in
disciplinary knowledge, self marketing and professional behaviors.
21








The required Theatre Internship course, also a CBLR course, sends students
into various communities—regionally, nationally, and internationally-- to
contribute to given communities and develop their professional knowledge
and skills.
The beginning of the year reception & information meeting for all majors,
minors and non-majors who want to be involved in theatre production helps
them understand their possibilities and expectations.
The end of the year gathering celebrates our graduates and honors recipients.
Group Advising sessions every term before official advising and registration
helps students get the right information and stay connected.
Scholarship students are empowered with high level leadership roles in our
department and are organized with regular project meetings.
We strive to maintain the highest quality production standards possible.
Faculty mentoring of the most professional behaviors helps us all be
successful.
Our best student retention efforts, however, lies in our exceptional teaching,
mentoring, and developing personal relationships with our students.
In addition to this, during the RMTA Festival over 25 current theatre students
committed to volunteering as helpers to actively participate in the facilitation of this
festival. Our student workers were matched with Guest Artists, Presenters and
Auditors so that they had the best opportunities to learn in their areas and network. In
return for their efforts their registration fees were waived. This kind of student
involvement is an example of our best retention efforts to get our students networked,
involved and set-up to be successful in their education as well as their future.
Within the past few years the Theatre Department has restructured the Stage Production
class THEA 100, 200, 300, & 400 Theatrical Production to create general meeting
times for this project based class. In the past the students might have not met everyone
in the class and received all the information of what the class entailed. By creating a
common meeting time students were able to understand what was asked of them and
they could ask question to the instructors.
All the classes that are offered by the Theatre Department have hands on approach to
teaching and there are many involving projects. These courses utilize the Midpoint
grading to allow students to understand their current grade and areas for improvement.
This includes the theatrical productions.
The new changes in the Theatre’s curriculum offer students more specialization in their
directed field of study. This allows the instructors of the courses to maintain a close
mentor relationships to the majors and increases the retention of students. The
involvement of the department with The Rocky Mountain Theatre Association is an
added component to the retention of majors. They gain valuable feedback from
informed audience members besides the feedback from the faculty at Fort Lewis
College.
22
3. Grading Practices: DFW and A Rates
a. “D”, “ F”, “W” and “A” Data
Grade Categories A to C- and DFW by Term, Subject, Course & Section - Fall &
Winter Terms Only
AY 2007 to 2008
Subject
Term
Subject Course,
Section
A's
A to C-
THEA
FALL
FALL
FALL
FALL
FALL
FALL
FALL
FALL
FALL
FALL
FALL
FALL
FALL
WINTER
WINTER
WINTER
WINTER
WINTER
WINTER
WINTER
WINTER
WINTER
WINTER
WINTER
WINTER
WINTER
WINTER
WINTER
WINTER
THEA-100-1
THEA-101-1
THEA-126-1
THEA-135-1
THEA-156-1
THEA-200-1
THEA-240-1
THEA-300-1
THEA-335-1
THEA-336-1
THEA-356-1
THEA-400-1
THEA-496-1
THEA-100-1
THEA-101-1
THEA-166-1
THEA-166-2
THEA-200-1
THEA-230-1
THEA-270-1
THEA-272-1
THEA-274-1
THEA-300-1
THEA-340-1
THEA-342-1
THEA-366-1
THEA-366-2
THEA-400-1
THEA-497-1
19
13
13
4
2
7
8
8
4
8
1
6
3
9
4
5
3
7
4
5
3
5
5
5
8
3
6
9
3
22
17
20
10
3
8
13
8
7
13
2
6
3
12
20
7
7
8
5
10
10
6
7
11
12
5
7
9
6
18
0
274
THEA
Total
DFW
4
1
1
3
4
2
1
4
1
3
3
27
ENROLLED
A's
A to C-
DFW
22
21
21
10
3
8
14
8
7
13
2
6
3
15
24
7
9
8
5
10
11
10
8
14
15
5
7
9
6
86%
62%
62%
40%
67%
88%
57%
100%
57%
62%
50%
100%
100%
60%
17%
71%
33%
88%
80%
50%
27%
50%
63%
36%
53%
60%
86%
100%
50%
100%
81%
95%
100%
100%
100%
93%
100%
100%
100%
100%
100%
100%
80%
83%
100%
78%
100%
100%
100%
91%
60%
88%
79%
80%
100%
100%
100%
100%
0%
19%
5%
0%
0%
0%
7%
0%
0%
0%
0%
0%
0%
20%
17%
0%
22%
0%
0%
0%
9%
40%
13%
21%
20%
0%
0%
0%
0%
301
60%
91%
9%
23
b. “D”, “F”, “W” and “A” Analysis and Narrative
Regarding DFW rates: Feedback was solicited from theatre faculty teaching these courses,
below please find the response that I received from them:

Theatre 101 Introduction to Theatre 18% - Nathan Lee
o Looking at the records, students not turning in writing assignments (i.e.
papers) and student absences attributed to this rate. From looking at the
attendance and class work, four of the students either stopped attending or
withdrew from the class. I had three students that did not turn in
assignments and take major exams.

Theatre 274 Make-up & Costume Design 40% - Nathan Lee
o There were two students that had poor attendance for the class. Also there
were two students that did not attend the final.
Regarding simultaneous above average DFW and “A” rates:

Dramatic literature/theory and criticism series: Kathryn Moller
These three courses are the most strenuous academic theatre courses we have in
our curriculum. Thea 240 Ancient and Classical Theatre, Thea 340W Modern
Theatre, Thea 342 Asian Performance, reflect both higher DFW percentages and
“A” rates than the average FLC class. This tendency has been constant over the
years. As a department we evaluated the course content and requirements for these
courses, and decided that they were not overly strenuous courses, nor too easy, and
that the material was appropriate and necessary. What we have done, however, is
instigate the following to help potential DFW students get through these courses
with higher grades:
o enhanced study guides & study groups
o library and research workshops with Library Staff and Faculty
o Focused individual student meetings with Learning Success Center, as well
as Diane Jenkins, Student Disability Services.
Additionally, to maintain an acceptable “A” ratio we have elevated expectations
regarding the quality of writing and depth of thinking/contribution to course
discussion.
Regarding “A” rates: I requested feedback from the theatre faculty teaching these courses,
below please find the response that I received from them:

Theatre 100/200/300/400 Theatrical Production 76%/88%/81%/100% - All Faculty
o Student involvement in theatre production is intense, strenuous and
incredibly time consuming and requires a great deal of commitment. The
students who are involved in these courses are the type of students who give
150% of their time and energy. The students who are not able to make this
kind of commitment usually end-up dropping the course. As such, there is an
high percent of “A” and “A-“ grades. The department seriously considered
changing the grading type for these courses to P/F. But after extensive
discourse decided that it was in the best interest of the students to maintain
24
the traditional grading system so that they would get deserved credit for their
hard work.

Theatre 126 Introduction to the Dance 62% and Theatre 166/366 Dance Technique
67% - Anne Berg-Pattillo
o These courses are populated by both theatre majors and students who want
to dance. They are the few courses offered in Fort Lewis Curriculum where
students can get dance technique combined with strenuous intellectual
discourse. As such, the profile of the students in these courses reveals a much
higher caliber of student, who is taking these classes because they really
want to be there, and are extremely dedicated to their accomplishment. The
results of this

Theatre 156/356 Guest Artist Series 53% -Kathryn Moller
o This course is populated by our theatre majors who are serious about their
accomplishment and dedicated to their own improvement. Given the
opportunity to work with and network with professionals from the discipline
these students not only give their best but are inspired to push beyond what
they think their potential might be. This has resulted in higher than average
“A” ratio. I think this means that we are doing exactly what we need to do in
this course.

Theatre 230 Stage Technology 80% - Nathan Lee
o This was a small class that had many projects. Attendance was good and
students did learn many skills to the subject matter.

Theatre 274 Make-up & Costume Design 50%
o This was a project based course to build the skills of Make-up and Costume
Design. A majority of the class did the projects and gained skills.

Theatre 336 Styles in Acting 62% Ginny Davis
o is a specialized skills course that acting students are highly motivated to
learn. It is critical to their success in the "real world" and they apply
themselves 110% because of this. Most students do work beyond what is
required in class. Although the “A” rate appears high, there were only 7
student in the class. 4 “A” students in a class that is specific to the acting
major is not unreasonable.

Theatre 496 & 497 Senior Seminar 100%
o Our Senior Seminar students take very seriously their work in this class not
as a course to be accomplished, but rather as their contribution to the
discipline. It is a rigorous exploration of not only their writing, but their own
creative accomplishment. It would be a kudos to their accomplishment
should they all receive “A”s in this class. In looking at my grade sheets,
however, I gave only 50% A grades. As such, I believe there is an error in the
statistic.
25
4. Student Success
a. Alumni Data
Alumni Survey/Office of Assessment and IR Dec 2008
Survey was sent to nearly 5000 FLC alums including 46 theatre majors
6 responses from 46 Theatre majors – 13% response rate
5 graduated since 1997
1 graduated in 1976
3 Males/3 Females
3 Have finished a graduate degree
1 is attending graduate school full time
(67% have attended or are currently attending graduate school)
2 have never attended grad school
Of those who attended grad school 50% say preparation at FLC was
excellent and 50% say preparation was good
4 are employed outside of Colorado
1 employed in 4 corners area
1 full time grad school
Theatre Department Alumni Data
The Theatre Department maintains a database of its 46 current alumni which is
informally updated as information is received (The acting assessment director
recommends formalizing the process with an annual update letter or email sent to each
alum).
The following results have been merged with the Alumni survey discussed above.
Graduate school and/or employment information is available for 32 of 46
alumni (84%)
Of these Theatre Alums:
 13 are attending or have attended graduate school (28%)
 26 are employed in Theatre professions (63% of total and 66% not
including those in grad school full time)
 7 are employed in other professions
 6 are in graduate school full time
Following is a list of our graduates and their contact information. This was supplied to
the department from the Fort Lewis College Alumni office through the office of the
Dean of AHSS.
26
Fort Lewis College Department of Theatre
List of Alumni
Revised 12/19/08
ADDR_NAME
PREF_STREET_LINE1
PREF_CITY
STATE
ZIP
CLASS
Jessica Alley
PO Box 2184
Pagosa Springs
CO
81147
2001
Vina Begay
16631 N 170th Ln
Surprise
AZ
85388
2005
Lawson Benally
PO Box 2745
Kayenta
AZ
86033-
2002
Laura Brost
3934 Wabash Ave Apt 5
San Diego
CA
92104-
2006
LeAnn Brubaker
2000 County Road 205
Durango
CO
81301-
2002
Kathryn Cichello
2 Friendship Ln
Colorado Springs
CO
80904-
1997
Ben Cooper
131 McCoy Rd
Wells
VT
05774-
2007
Krista Draper
2145 Ardella Dr
Pocatello
ID
83201-
2005
Emily Flood
60 Westwood Pl Unit A11
Durango
CO
81301-
2007
Tim Gittings
1043 Hannah Ave
Forest Park
IL
60130-
1998
Rachel Gressler
1433 Tweed St
Colorado Springs
CO
80909-
2008
William Hart
815 Arbor St
Cortez
CO
81321-
1997
Kristen Hathcock
25168 La Mayo Ave
Moreno Valley
CA
92557-
2004
Jennifer Havenner
2816 Armacost Ave
Los Angeles
CA
90064-
1998
Desiree Henderson
10400 Highway 491
Cortez
CO
81321-
2007
Angel Hernandez
PO Box 2
Kyle
SD
57752-
1998
Nathaniel Hope
921 Bittersweet Dr
Northbrook
IL
60062-
1997
Ellen Hoskins
9608 Thomas Baxter Pl
Lorton
VA
22079-
2006
Geoffrey Johnson
1808 Forest Ave
Durango
CO
81301-
2008
Noah Johnson
18670 Hottle Springs Rd
Seneca
MO
64865-
2001
Sara Johnson
--
Kimberly
ID
83341
1975
Stephen Juhl
15739 E Powers Dr
Centennial
CO
80015-
2007
Kristina Karahalios
10689 W Quarto Dr
Littleton
CO
80127-
2007
William Keesen
22231 Alpine Mdw
Morrison
CO
80465-
1998
Haruki Koretsune
3-15 Sanno-cho Koyoen
Hyogo, Japan
--
662
1998
Clayton Langan
9204 Featherbell Blvd
Prospect
KY
40059-
2001
Terrence McAlister
17680 County Road 500
Pagosa Springs
CO
81147-
2008
Matt McDonald
1190 Indian Wells Rd
Mesquite
NV
89027-
2008
Jeremy Melton
5408 Aryshire Dr
Dublin
OH
43017-
2002
Victor Michalak
9216 SE 33rd Pl
Mercer Island
WA
98040-
1976
Michael Miles
PO Box 656
Oracle
AZ
85623-
1976
Mauriceo Notsinneh
PO Box 1527
Sheep Springs
NM
87364-
2003
Alan Ridgway
PO Box 1448
Paonia
CO
81428-
1976
Julia Schneider
PO Box 16
Paonia
CO
81428-
2007
Kolya Schweppe
3930 Westpark Ct NW
Olympia
WA
98502-
2000
Tara Sheehan
840 Plymouth Dr Apt 308
Durango
CO
81301-
2004
Amanda Smith
24 34th St
Des Moines
IA
50312-
1997
27
Carl Smith
11312 3800 Rd
Paonia
CO
81428-
2003
Melissa Snyder-Notz
6084 S Fairfield St
Littleton
CO
80120-
2003
Darrin Stevens
1104 Greenwood Ave
Wilmington
NC
28403-
2003
Kristopher Thornton
6380 S Boston St Unit 295
Greenwood Vge
CO
80111-
2004
Ashley Wagner
PO Box 1153
Glenwood Spgs
CO
81602-
2004
Andrew Wilson
405 E Tycksen Dr
Farmington
NM
87401-
2006
Theatre faculty, however, have been for years maintain personal relationships with our
alumni and from these relationships have been able to compile significant data on the
career directions, accomplishments and successes of Fort Lewis College Theatre
alumni. We learned while compiling this data, that, although many of our students and
alumni complete double majors at Fort Lewis College, they are not listed as alumni in
both majors. As such, many theatre alumni are not on the Theatre Alumni list. We also
learned that students and who major and graduate in Humanities with a primary
concentration in Theatre are also not listed in the Alumni Office as Theatre alumni.
We have added these important alumni into the list below, their names are in blue. And
due to the scope of this study, we have limited this list to the past 11 years thereby
removed from the list those who graduated before 1993.
Fort Lewis College Theatre
Alumni Survey, Revised 12 February, 2009
1. Shereen Abu Saeedi -- Shereen currently teaches in
the public school system in Denver. She completed
her Master’s degree in Education from DU two years
ago. She is looking to instigate a extracurricular
theatre program for Girls in the Denver Georgia
O’Keefe Arts and Leadership (GOAL) program.
2. Jessica Alley - We have not heard from Jessica since
her graduation.
3. Vina Begay – Vina is attending graduate school fulltime.
4. Lawson Benally – Beau is currently living in
Kayenta and has taken over his grandfather’s trading
post. He feels that this is his familial obligation. He
also works with Monument High School students
and is now planning to produce Frankenstein with
them in April ’09.
5. Laura Brost – Is currently a graduate student and
working as a Graduate Assistant at University of
California, San Diego theatre program.
6. LeAnn Brubaker – LeAnn is currently the Technical
Director at FLC Community Concert Hall.
Year
Gradu
ated
2002
Pursue
Grad.
Degree
X
Complet
ed Grad.
Degree
Profes
sional
in
Theatr
e Arts
X
X
Profes
sional
outside
Theatr
e Arts
No
Inform
ation
X
2001
2005
X
2002
X
2006
2002
X
X
28
7. Kathryn Cichello is now Kathy Della Mia she was in
Graduate School in San Francisco but is now living
in Denver and is the mother of two girls.
8. Ben Cooper – Building a business in Carbondale,
CO with his brother.
9. Krista Draper - Krista is currently a graduate student
and Graduate Assistant at the University of Idaho
Theatre program.
10. Emily Flood – Emily is currently the personal
assistant to the theatre manager at the Henry Strater
Theatre, Durango CO.
11. Tim Gittings – Tim has recently completed Graduate
School in Alabama and received his MFA in
Theatre.
12. Rachel Gressler – Rachel is currently director of
theatre at Miller Middle School, Durango, CO.
13. William Hart – Taft went on to graduate school,
graduated with a MFA from Utah State, then
travelled throughout Africa with Peter Brook’s
International theatre. Currently, Taft is living in New
York City, and working as a theatre professional.
14. Kristen Hathcock – After touring with a children’s
theatre company, Kristen settled in California as a
Business Development Manager for a medical
supplies company.
15. Jennifer Havenner – Jen is currently working at the
Denver Center for Performing Arts and facilitating
Children’s theatre education in the Denver area.
16. Desiree Henderson – Desiree is currently freelancing on film/theatre installations in Seattle WA.
She also works at the Cortez Cultural Center as well
as publishing her own writing.
17. Angel Hernandez – The last we heard, Angel was
working with Native American theatre group in
Nebraska.
18. Nathaniel Hope – Nathan has attended and
completed graduate school, he is currently working
in Illinois.
19. Kanako Hiyama – Kana currently lives in New York
where she works as a professional at three off-off
Broadway Theatres.
20. Ellen Hoskins – Elle is now married & her name is
Elle Fore is living in Denver and working with the
Red-Cross and attending graduate school at DU to
become a social worker,
21. Geoffrey Johnson – Geoff is currently working as a
1997
X
2007
2005
X
X
X
2007
1998
X
X
X
2008
1997
X
X
X
X
X
2004
1998
X
X
X
X
2007
X
1998
X
1997
X
2002
2006
2008
X
X
X
X
29
performer in regional theatre in the area.
22. Noah Johnson – Noah is employed as an Equity
stage-hand at a professional theatre in Tennessee.
23. Stephen Juhl – Stephen has been doing voice-over
work for film.
24. Kristina Karahalios – We have not heard from
Krissy since her graduation.
25. William Keesen – Bill moved to Utah to attend
graduate school.
26. Haruki Koretsune – Haruki returned to Japan where
he was from and we have not heard from him since.
27. Clayton Langan – Clayton is employed as an actor in
Southern California.
28. Terrence McAlister –Terry is very pleased with his
job, working for Omni Lighting in Tulsa, OK.
29. Matt McDonald – We have not heard from Matt
since his graduation.
30. Jeremy Melton – We have not heard from Jeremy
since his graduation.
31. Alex Oliszewski – After graduating Alex moved to
San Francisco working in the discipline, then he
moved to Denver working at UCD in their media
laboratory. He is now applying to Graduate School
and will hopefully begin in the fall.
32. Mauriceo Notsinneh – Mauriceo is currently
manager of a retail clothing store in Albuquerque,
NM
33. Heather Rassmussen (2008) Heather graduated with
a double major in Theatre and Psychology. She is
currently researching graduate school possibilities
while working for the DSNG railroad.
34. Julia Schneider – Julia is currently working in
Durango at City Cleaners.
35. Kolya Schweppe – Kolya attended Graduate School
in Germany and is still living there. He teaches
English and Theatre.
36. Tara Sheehan – Tara is working with film companies
doing character voice-overs and cartoon voice work.
37. Amanda Smith – The last we heard from Mandy, she
was managing a restaurant in Hawaii.
38. Carl Smith – Carl has his own performing company
in Paonia, CO. He is currently pursuing applied for
acceptance at the graduate conservatory at the
Denver Center for Performing Arts.
39. Melissa Snyder-Notz – We have not heard from
Melissa since graduation.
2001
X
2007
X
X
2007
1998
X
X
1998
2001
X
2008
X
X
2008
X
2002
X
2003
X
2008
X
2007
X
2000
2004
X
X
X
X
1997
2003
X
X
X
2003
30
40. Glenda Tom – was a graduate in 2000 with a double
major in Theatre and Psychology. She has just
completed graduate school in San Francisco in
Drama Therapy.
41. Darrin Stevens – The last we heard, Darrin was been
employed as a performer in regional film work, and
his two boys are in high school.
42. Kristopher Thornton – We have not heard from Kris
since his graduation.
43. Audrey Tebrich – Audrey is currently living in
Chicago and working in a professional touring
theatre group.
44. Ashley Wagner – Ashley is currently the Director of
the Durango Arts Center Children’s Museum.
45. Andrew Wilson – Andrew works in Farmington,
NM, as a Police Officer.
46. Eagle Young – is currently working as a professional
performer primarily with the historical performing
programming in the state of North Carolina.
2000
X
X
2003
X
X
X
2004
X
2004
X
2006
X
2005
Totals
X
13
7
26
7
7
a. Analysis of Alumni Data
Over the past 15 years we have graduated 46 Theatre majors. We have recent information
on 84% of all of our graduates from the past 11 years, as we have consistent contact with all
except 7 alumni, or 15%. 28% of our graduates have completed, or are in the process of
completing graduate school, over 50% of those have completed graduate school successfully
and gone on to being employed as a professional in the field. Additionally, 56%, of our
alumni, over half, are working professionals in the field. Most are working nationally, but
some are involved in International professional work.
b. Narrative on alumni Relationships and Successes
It bodes well of our program and our current faculty that we have such strong, on-going
communications with our alumni. Clearly our alumni feel connected to each other, to our
faculty and to their Alma Mater. They have created a Facebook and a blog. These
connections are important to our development and future possibilities. Information that we
can glean from this statistics is positive. Our academic programming has been strong
enough to send 30% of our graduates to graduate school. Furthermore over 50% of our
graduates are active professionals in their field. As such we have prepared them
appropriately toward successful careers utilizing their Theatre degree.
31
D. Program Profile: Facilities Status and Development
1. Learning Environment
A functional learning environment is one of the most influential factors toward success in
recruiting and retaining students to graduation. A comfortable, functional, competitively
equipped learning environment will give us the advantage, when coupled with our innovative
programming, to most successfully recruit and retain the best and brightest students toward
graduation.
Fort Lewis College Theatre is the only collegiate academic institution in the state of
Colorado that has not been renovated or replaced in the past 20 years. Maintaining a
functional, effective and empowering teaching/learning environment has clearly been one of
our greatest challenges over the years as our 50 year old building has not been appropriately
maintained or upgraded to be current with the discipline. Catching-up with the ravages of
time has become, by necessity, the responsibility of the faculty in the department rather than
of any other administrative entity. At the same time our budget, designed for departmental
operations, does not allow for facilities maintenance. The majority of the maintenance of our
learning environment--including painting, carpeting, draping, window covering, lobby and
interiors—has been facilitated by departmental faculty through funds raised from private
donors and production efforts, rather than State of Colorado funding. Additionally, whether
we utilize our yearly resources on teaching supplies or facilities maintenance has been a
continuing issue because our teaching environment greatly informs, enhances, and enables
our teaching and student learning.
In the winter of 2006 we discovered that the floor of our Black Box Theatre “Gallery” was
infested with termites. Mark Gutt, project manager of the FLC Physical Plant helped us by
finding State of Colorado Emergency funding to replace the floor. We were so lucky to get a
new, sprung hardwood floor appropriate to the teaching/learning necessary in that space. We
had never had an appropriate floor before this time. Immediately after that floor was
installed, the learning and outcomes of our students increased greatly in scholarship and
quality.
This “emergency” taught us an extremely important lesson that has affected all of our
initiatives and activities since: a clean, safe, appropriate learning environment, not only
attracts more and better students, but truly empowers our students to learn more effectively
and better. To that end there has been an increasing effort to better maintain, improve and
enhance the facilities that we have toward the best learning environment possible. Oftentimes
utilizing our own resources, our personal time, our summers, carefully raised support, and
help from the Physical Plant our efforts have successfully included:



Installation of an updated and more secure pipe grid for light hanging and rigging for
both our Main Stage and Black Box “Gallery” theatres
Building a tool storage room in the Scene-Shop
Deep-cleaning and re-organizing the Scene-Shop toward more professional standards
32


















Demolition and rebuilding of our sound control area toward more professional
standards
Installation of state of the art digital software, “Isadora” to be competitive with, if not
set-apart from, other institutions
Deep-cleaning, painting and re-organizing our back-stage area toward more
professional standards
Painting our Theatre Lobby toward better bridge-building with the over 6,000 patrons
that come through that space every year
Framing our theatre posters of the past 20 years to demonstrate and archive our
history of excellence
Deep-cleaning, painting and re-organizing our control both area toward more
professional standards
Installation of work-space, desk, and networked computer for best stage management
practices
Installation of a phone in our Scene-Shop for emergencies
Renovation of seat storage for our Black Box “Gallery” theatre
Replacement of the draping in our Black Box “Gallery” theatre
Replacement of the dry-rotted and molded draping and cyclorama in our Main Stage
Theatre
Re-painting of our Black Box “Gallery” theatre
Displayed art from featured area artists as continually rotated in our lobby
Installation of a kiosk computer in our Lobby for student access as well as box-office
sales
Installation of sound system in our lobby for patrons and students
Reorganization of our Department offices and faculty offices toward best professional
practices
Renovation of our Theatre Department office with student work areas toward a most
effective and professional working space and public space.
Fire safety upgrades in our Costume Shop
Most recently and still in process are the upgrades that are being instigated this year. We
are extremely excited about these upgrades which include:
 Re-upholstery of our Main Stage seating
 Carpeting in our lobby and Main Stage aisles
 Draping on our Main Stage walls for sound and aesthetic purposes
 Renovation of our stage thrust
These efforts at facilities maintenance have positively enhanced our student learning as
well as our retention and recruitment efforts. Because of this maintenance we see student
improvement regarding scholarship, professionalism and pride of ownership in all that they
do. Similarly, our faculty accomplishment is enhanced as they feel that their work is clearly
valuable to our donors and as well our administration.
33
III. Curriculum Statement and Development
A. Curriculum Development Statement and Status
B. Statements on Student Research
C. Departmental Curriculum Implementation Analysis
1. Analysis of the Four Curricular Options in Theatre
2. Analysis of Ability to Effectively Facilitate Programming and Curriculum
D. Assessment
E. General Education & Campus Curriculum Contributions (Outreach
Responsibilities)
1. GT-Pathways Course Development
2. Thematic Studies and EGC Course Development
3. CBLR Course Development
4. Enrichment Course Development
34
Section III - Curriculum Statement and Development
A. Curriculum Development Statement and Status
Our curriculum is the foundation of our program, it is what defines, identifies and teaches
values, empowers students to be successful and can encourage (or discourage) a healthy
increase in the numbers of student majors. By the millennium it became increasingly clear
that the Fort Lewis College Department of Theatre curriculum was outdated and ineffective
toward strong student outcomes. We needed to make an exerted effort to focus on
curriculum revision to better align with not only the college mission and disciplinary trends
but to better align with how our student profile was continually changing and how our
students constantly move through and among major program choices. All departments
have been encouraged by President Bartel to: “develop undergraduate research
opportunities, expand degree offerings, create new quality undergraduate experiences, and
create innovative curricular activities” (from Strategic Plan). By expanding degree
possibilities in our department through a multi-option curriculum, and by updating our
curriculum to include service learning, guest artist series, and other opportunities, we
strengthen our program, increase student opportunities, and increase the potential and
possibilities for not only our majors, but our entire student community.
A plan was introduced to the Department of Theatre in fall of 2005. We designed at first
six tracks of study in collaboration with other departments, including Art, Music &
English, to better serve Fort Lewis College and its students. After over a year of working:
research, restructuring and bantering about these ideas, our new curriculum was submitted
to the curriculum committee, the senate council, and the Provost. After consideration by
these bodies, this plan was delimited to four tracks by combining Performance and
Directing and eliminating the Theatre Education Track. In spring of ’06 our new curricular
option system was approved and is now fully initiated in our present and future
programming. Students can now receive a Bachelor of Arts Degree in Theatre in the
following areas:




Arts Administration (A collaborative design with School of
Business)
Design & Technical Theatre
Performance & Directing
Theatre Generalist
In keeping with the strategies determined by the President, Provost and Dean all of the
available degree options in Theatre will continue to include non-traditional learning
opportunities through internships, service learning, global perspectives and sophomore
seminar courses.
35
B. Statements on Student Research
In winter of 2008, we met as a department to consider and draft a statement of our disciplinary
definition of student research. We then considered all our classes and compiled a list of where and
how much student research occurs in each of our classes. Below please find the results of these
findings.
1. Definition of Student research in the discipline of Theatre:
Student research in the discipline of Theatre consists of the
gathering of data through observation, reading primary and
secondary sources, modifying traditional theories into
contemporary scholarly applications, and compiling set
information into a formal presentation.
2. Courses offer in theatre that contain a significant portion of student research activities:
1.
2.
3.
50% or more
 THEA 240 Ancient & Classical Theatre
 THEA 340 Modern Theatre
 THEA 322 Creative Dramatics
 THEA 323 Children’s Theatre
 THEA 336 Creating Performance: Directing
 THEA 335 Styles in Acting
 THEA 342 Asian Performance
 THEA 369 Playwriting
 THEA 496 Senior Seminar I
 THEA 497 Senior Seminar II
 THEA 299/499 Independent Study
 THEA 274 Make-up & Costume Design
 TS2R 409 Non-Western Theatre
60%
85%
50%
50%
75%
70%
80%
75%
100%
80%
95%
50%
50%
Less than 50%
 THEA 100/200/300/400 Theatrical Production
 THEA 101 Introduction to Theatre
 THEA 126 Introduction to the Dance
 THEA 238 Acting Techniques II
 THEA 374 Lighting & Sound Design
 THEA 460 Internship in Theatre
45%
40%
30%
40%
40%
45%
Less than 25%
 THEA 135 Acting Techniques I
 THEA 230 Stage Technology
 THEA 233 Audition Techniques
 THEA 270 Acting for Camera
 THEA 272 Vocal & Physical Preparation
 THEA 156/356 Guest Artist Series
 THEA 372 Stage Management
25%
15%
20%
10%
10%
10%
20%
36
C. Departmental Curriculum Implementation Analysis
1. Analysis of Four Curricular Options In Theatre
In an effort to make our curriculum competitive with other schools, we created an
updated curriculum designed to fulfill the needs of our current students while attracting
future prospective students who cannot find what they need at other Southwest, and
national institutions. In collaboration with the Business school, Art department and
Education department, our curriculum now offers some unique features that will appeal
to students, while still providing a solid foundation in theatre education. Care was taken
when moving to the “option” system to not shift to “conservatory style” training, but to
maintain the integrity of the liberal arts mission. There are several features of our newly
implemented curriculum that enables us to maintain that identity. These are listed below:
a. First, each track has the same core of courses that are required of all theatre majors.
Theatre majors must take: THEA 240AH1 Ancient and Classical Theatre, THEA
296 Sophomore Seminar, THEA 340 Modern Theatre, THEA 342 Asian
Performance, THEA 300 & 400 Theatre Production III and IV, THEA 460
Internship in Theatre, and THEA 496/497 Senior Seminar. We are also in the
process of adding the THEA 157-357 Guest Artist Series to this list. These courses
were chosen with the intent of giving all students a well- rounded foundation of
theatre knowledge. The addition of Sophomore Seminar and the Internship
component appear to be strong additions to our curriculum. Sophomore Seminar
has allowed us to move the career portion of Senior Seminar (i.e. resume, portfolio,
professional theatres, unions, job interview skills, graduate schools, internships,
etc.) to a more appropriate placement in the educational sequence for students. It
also gives the faculty a benchmark evaluation point for students in our program. As
a faculty we need to explore the evaluation requirements more thoroughly and
determine how best to use that information to the students advantage. The
internship component gives our students “real world” experience while providing
the opportunity for the service component the college has recently added to its
mission. The Internship in Theatre course has just been passed by the Faculty
Senate as a CBLR designated course, thus increasing the value of this course for our
students. The Asian Performance component offers our students a unique nonwestern perspective to the creation of theatre. The offering of this course
distinguishes our theatre program from others, while offering our students a more
global perspective within our discipline. The requirement for production courses
reflects our commitment to the production of theatrical works as a laboratory in
which our students can learn their craft. The creation of quality productions also
provides an outreach from the college to our community.
b. Second, courses in all options are open to all Fort Lewis College students, including
production courses. In fact, we routinely enroll students from other disciplines in
our courses beyond our General Education offerings. Acting I, Theatrical
Production I, II, III and IV, Creative Dramatics, Children’s Theatre, and Dance
Techniques serve a large non-theatre major population.
37
c. Finally, we require students in each track to take auxiliary course in other
departments that will be beneficial to their development as theatre artists. This
broadens their knowledge base and encourages thinking across disciplines. Overall,
the change to a multi-option curriculum was made in an attempt to attract and retain
more theatre majors to Fort Lewis College Theatre Department. There are several
unique aspects to our program that should help position our program as a desirable
one. First, we offer a Guest Artist series once a year. This course gives students
opportunities to work with noted professionals within our discipline. We strive to
bring in a variety of artists, so as to serve the students in all tracks. Past Guest
Artists have included those listed below:
Guest Artists & Artists in Residence
The Department of Theatre’s Guest Artist Series was created to give our students
opportunities to work and network with national and international practitioners of
specific theatre forms and the theatre industry in general. By connecting with
professional artists, our program stands apart from other universities, allowing our
students to acquire knowledge from a wider variety of sources. Recent guest artists
include, but are not limited to:
Tesha Buss
Tesha works as a professional dancer and actor in New York. Her extensive credits
include Broadway, Off-Broadway as well as national and international touring.
John Flax
Paris, Le Coq. As the artistic director of Theatre Grottesco in Santa Fe, NM, John has
provided his expertise in mask, mime, and acting.
Dan Lauria
Dan is best known for his role as the father on The Wonder Years. He has, and
continues to, appear in numerous films and television shows.
Richard Malcolm, PhD
Lancaster University U.K. and founder/co-director of Imitating the Dog Theatre
Company. Richard teaches workshops in multi-media production, directing, and
devised theatre.
Wendie Malick
Wendie is a two-time Emmy & Golden Globe nominated actress for her role on Just
Shoot Me! and recently appeared in Big Day on ABC.
Beth Osnes, PhD
Beth is a Fulbright Scholar, professor of Theatre at the U of C Boulder and founder
of Mothers Acting Out activist organization.
Bernardo Rey
Universidad Piloto de Colombia, National School of Dramatic Arts, Bogota, South
America, International School of Theatre Anthropology, Eugenio Barba. Bernardo is
the co-founder of the Centre of Theatre Research in Amelia, Italy.
Nube Sandoval
University of Bogota, South America. Nube’s vast experience in performance and
directing includes 10 years study with Jerzy Grotowski and co-founding the Centre of
Theatre Research in Amelia, Italy.
Betsy Tobin
In addition to the MFA from Kent School of Art, Betsy performed and studied in
Europe for ten years.
38
As mentioned earlier, THEA 342 Asian Performance distinguishes our program, as most
Colorado and COPLAC programs do not offer studies in this area. Another area of
distinction is the addition of THEA 336 Creating Performance: Directing to the
undergraduate performance track. Very few programs provide the opportunity to take
Directing courses to undergraduate students. In addition, our Theatre majors who
demonstrate the appropriate skill level are oftentimes given the opportunity to design or
assistant design for our Main Stage productions through either Independent Studies, or
our Theatrical Production courses. This is an opportunity rarely given to undergraduate
students at other institutions. The Arts Administration track offers students an additional
opportunity rarely found at the undergraduate level. We have taken advantage of our
exceptional Business school in the creation of this degree program. The intent is that this
track will be attractive to both theatre and business students.
Since we are just beginning our third year with this curriculum, we are working out the
kinks. We have discovered a few problems and are working on rectifying them. In the
Performance and Directing option the way it is listed, THEA 135 Acting Techniques I
can be avoided if students take THEA 237 Acting Techniques II, as students are allowed
to choose from 3 of 4 courses. We have brainstormed some ideas and hope to have this
situation rectified soon. We need to revisit this requirement and determine how to make
that work best for students. In the Arts Administration option there are a couple of
problems. First, this track was designed with business students in mind. As such, we felt
that THEA 101AH1 Introduction to Theatre was an appropriate course for all majors in
this option. What has unfolded, however, is that we have some students in this option
who are well versed in theatre and therefore do not need this course. After discussions
with the faculty, we have decided to offer them the option of taking THEA 336 Creating
Performance: Directing in lieu of Theatre 101 Introduction to Theatre, as we determined
that students would get the most appropriate material in this course.
The bottom line is that, as expected with any new program, we are finding a few kinks as
we go along. After one complete cycle of offering courses (4 years) we should have finetuned these tracks to work in the student’s best interest. The first students graduating
under the new tracks should be in 2011. At that time we should reexamine the tracks and
see if there are any unresolved issues.
2. Analysis of Our Ability to Effectively Facilitate Programming and Curriculum
Our ability to facilitate four options is our challenge at this moment as we make the
transition from the old curriculum to the new, but should eventually become stable. We
offer many courses on a two-year rotation, and some on a three year rotation. With the
addition of the new courses required for these options, we are faced with the challenge of
needing to serve all students while still filling enough seats to make every course we
offer. Additionally, while making this transition we are finding the need to offer some
courses in back to back semesters that should not normally be that way in order to make
the smoothest transition to the new rotation. A little leeway from our administration
regarding class numbers may be necessary while we make this transition. By the time we
39
complete a 4- year cycle with our new options, we should be able to adhere to a standard
2 year predictable rotation of courses.
It is necessary that we utilize adjunct faculty in order to deliver our new curriculum.
Short of hiring a 4th full time professor, we will need to continue to count on our very
qualified bank of adjuncts to help us deliver our courses.
D. Assessment
Statement on Student Assessment Processes and Development
Our assessment process was developed by the department in 1996 and revamped again
in 1998. It has worked well, and certainly aligns with the NAST criteria, but the
department is beginning to find it work intensive and perhaps not as productive as
possible. Our assessment practices include the following
 Students take an entrance diagnostic exam covering a broad knowledge base of
theatre.
 At the semester’s conclusion of each class students complete assessment forms
evaluating the effectiveness of the class. These forms evaluate not only faculty
effectiveness but for student learning.
 Students complete a senior thesis in the first half of their senior year. Analytical
in nature this thesis indicates the abilities of the student with regard to analysis,
and writing communication skills.
 In the 2nd half of their senior year this research is concluded in the form of a
public performance. Practical in nature, this project oriented work indicates the
abilities of the student with regard to creative, communication and presentation
skills.
 With regard to senior seminar efforts, all theatre faculty members are given
copies of senior seminar papers to assess, and all faculty members are invited to
attend senior seminar project performances. Evaluation is a continuing process.
The Senior Seminar instructor administers exit exams to outgoing seniors in
their last trimester (usually winter). The tests are circulated among theatre
faculty who assess the outgoing knowledge base of the students and recommend
changes to curriculum.
 Theatre students take an exit diagnostic similar to the entrance examination that
assesses knowledge acquisition and development.
 All decisions with regard to assessment are discussed regularly in department
meetings.
With the changes in our curriculum to the four option system there have been some
additions to our curriculum that, not only support the Presidential Strategic Initiatives, but
add to our thinking regarding assessment. We have added to our curriculum—Asian
Performance, Theatre Internship, and a Sophomore Seminar course in which the students
create their professional portfolio. In compliance with NAST criteria, the portfolio
assessment is an ideal tool to add to our assessment plan. As such, when considering our
40
future directions below there is a plan for re-evaluating and developing a new assessment
tool that we can use to continually make our program better, and as well give the students
the best documentation toward their future successes
E. General Education & Campus Curriculum Contributions (Outreach Responsibilities)
We offer several courses in the Department of Theatre that are a part of the General
Education curriculum. Many of our courses are currently part of the GT pathways courses
offered by the department. And, many have been accepted as an EGC course.
Additionally, we have worked hard to translate our TS2 courses into the new EGC
courses so that we may remain active and connected to the General Education
programming across campus.
1. GT-Pathways Course Development
The Department of Theatre has strived to offer the highest quality general education
requirements from our discipline both in the lower and upper division courses. With
the changing General Education requirements mandated by the Colorado Council of
Higher Education the Department has recently aligned three courses to the lower
division requirement. THEA 240AH1 Ancient and Classical Theatre, THEA
126AH1 Introduction to The Dance and THEA 101AH1 Introduction to theatre have
been accepted into the new GT-Pathways General Education.
2. Thematic Studies & EGC Course Development
With the change of the General Education requirements in the past two years the
Department has added three courses to this new curriculum. These courses are:
Gender and Performance, Performance Art, and Rituals and Performances. While
both Performance Art and Rituals and Performance fulfill the new upper division
General Education requirement, “Education for Global Citizenship” the Gender and
Performance course fulfills the older TS2R Thematic Studies General Education
requirement when deemed necessary. We are in the process of adjusting this course
so that it will fulfill current EGC requirements. Theatre faculty involvement in the
development of this upper division aspect of General Education has been extensive
and includes:
 Two Theatre faculty members have served on the Gen. Ed. Committee, one
for almost ten years, and one for 2 years.
 Departmental faculty have been active in serving on the subcommittees the
development of the new Education for Global Citizenship courses as well as
attending workshops on creating new courses and working closely with the
General Education Council to discuss new topics.
 Currently the Department will teach two to three EGC/TS2 courses during an
academic year.
3. CBLR Course Development
The Theatre Department is currently offering a Community Based Learning course
through their THEA 460 Theatre Internship course. Winter 2008 was the first
semester of this offering. Students were partnered with area, regional and
41
international theatre groups or theatre facilities. In addition to this our THEA 322
Children’s Theatre is an ideal course for the CBLR initiative. There is currently a
proposal submitted to the Curriculum Committee for this course.
4. Enrichment Course Development
Over the past years the Department has contributed performances related or associated
with the recent Freshmen Common Reading Experience as Enrichment courses. For
the book chosen, Folding Paper Cranes the Department collaborated with the author
to create a performance based on the book; included “Red” Bird as a performer and in
addition to the Main Stage show, performed scenes at the college dedication of
Hesperus Peace Park.
42
IV. Production Accomplishments
A.
B.
C.
D.
Criteria for Season Selection & Development
Statement on Production process & Responsibilities
Past Season Productions
Production Accomplishments – Highlights
43
Section IV. Production Accomplishments
Fort Lewis College Theatre has a rich history of exciting traditional as well as
original theatrical productions. We continue to be committed to providing a venue
for performance that gives students a broad array of opportunities, while
simultaneously stretching their possibilities. Likewise, our theatrical productions
serve as an outreach opportunity benefiting our students while building bridges with
our campus and area communities. The innovative theatre programming at Fort
Lewis College it provides unique experiences in the arts that are rare in cities of any
size. Our theatre productions continue to address the multiple responsibilities we
have in the arts to the Fort Lewis College community, to the citizens of Colorado,
and to the Southwest. Moreover our reputation for high quality original and devised
productions is something that clearly sets us apart from other Colorado institutions,
if not institutions throughout the Southwest.
A. Criteria for Season Selection & Development
As an academic department of Fort Lewis College we are committed to education in diverse and
multidisciplinary ways. The selection of our performance season is meant to enhance the social,
intellectual and cultural learning of our student body, our majors, and as well serve as an outreach
to our greater Durango Community. In a sense we wish to enrich our student’s experience, the
greater college campus and our area community with a diverse range of performances that enhance
learning, broaden perspectives and enrich lives. This should involve not only performances of
differing styles from various periods and cultures, but performances that encourage collaboration
with other college departments as well as potential community collaborations.
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Through a four year education the department should produce a range of performances from
the following list: Classic, Neo-Classic, Modern, contemporary, Dance, Musicals and
New/Original works.
The potential collaborative departments and community organizations should be consulted
for the purpose of nurturing potential collaborations. This should include, but not be limited
to:
o Music
o Media Studies/English
o Art
o Community initiatives
Each year a selection committee will be formed to from the students, full-time and adjunct
faculty, staff and a community member to determine the coming year’s season of
performances.
Each year potential guest directors (and designers) should be considered to give our students
the broadest performance and mentoring experiences.
Show selections should be closely compared with past productions (so as to avoid repetition),
course curriculum, need for cast size and diversity in culture as well as gender.
The ideal season will contain enough participation to include all of our student majors toward
a successful completion.
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B. Statement on Production Process & Responsibilities
A Season Selection Committee is formed to select our season every year in the fall. This
committee consists of all faculty members (full-time and adjunct), one student
representative, and one Durango community representative. If we anticipate including a
musical in our season, an additional member is added from the music department. This
2008-9 committee includes Dr. Kathryn Moller, Dr. Ginny Davis, Nathan Lee, Felicia
Meyer, Anne Berg-Pattillo, Craig Harris, Anna Jany (student) and Jane Gould (community).
Each year, following the guidelines listed above, the committee looks at the offerings of the
past 3 years and explores what educational needs exist. With these criteria as a guideline,
we brainstorm titles that fit the categories (i.e. Greek, Restoration, contemporary,
playwrights of color, multicultural, etc) and also fulfill the other criteria on the established
list of guidelines. From this large list of titles, we look realistically at our ability to
successfully produce the pieces in term of technical aspects, numbers of students, and
money, and facilities. Once we narrow down the list of titles/projects, we gather scripts for
all on the committee to read. Copies are also made available for theatre students to read so
that they may give feedback to the student representative on the committee. Once titles
have been selected, we solicit directors appropriate for the pieces chosen. This process
usually begins before Thanksgiving. Final decisions should be completed by March of each
year. This allows time to secure rights to performance, to hire directors and other support
staff as needed, to advertise, and to adequately research the plays. Below please find a
listing of past productions:
C. Past Season Productions
2008 - 2009 Theatre Season (Current)
o Raised in Captivity - Nicki Silver
o Rocky Mountain Theatre Association Annual Festival hosted by Fort Lewis College Theatre
o Chicago (the musical—collaboration with the Department of Music)
2007 - 2008 Theatre Season
o Speak Truth to Power: Voices from Beyond the Dark - Ariel Dorfman
o Kinetic Kaleidoscope – Dance Concert (with guest choreographers)
Speak Truth to Power-Presented as a Showcase performance at The Rocky
Mountain Theatre Festival in Lakewood, CO with Kerry Kennedy
Win/Lose/Draw - Mary Gallagher
Dante’s Inferno – Original FLC production by Kurt Lancaster & Desiree Henderson
2007 Summer
Voices in American Drama: A Summer Play Reading Series
2006 - 2007 Theatre Season
o Folding Paper Cranes – Original Fort Lewis College Production Leonard “Red” Bird
as guest speaker
o Maria Magdalena (with guest artists from Bogota, Columbia—Bernardo Rey and
Nube Sandoval)
o Muysua (with guest artists from Bogota, Columbia)
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o
o
o
Three Tall Women – Edward Albee
Waiting for Godot – Samuel Beckett (Enoch Brater guest speaker)
The Wonderful Wizard of Oz (the musical—collaboration with the Department of Music)
2006 Summer
o Voices in American Drama: A Summer Play Reading Series
2005 - 2006 Theatre Season
o Angels in America - Part I: Millennium Approaches – Tony Kushner
o The Complete Works of William Shakespeare - Abridged
o The Guys (with guest performers Wendie Malick and Dan Lauria)
o Angels in America - Part II: Perestroika
2004 - 2005 Theatre Season
o Diary of Anne Frank - Oct. 2004
o Skins – Original Fort Lewis College Production – Elizabeth Ingraham--Nov. 2004
o Much Ado About Nothing - Apr. 2005
o Skins – presented at La MaMa E.T.C. in NYC - Mar. 2005
2003 - 2004 Theatre Season
o The Laramie Project - Oct. 2003
o The Hobbit – Original Fort Lewis College Production - Dec. 2003
o A... My Name Is Alice - Apr. 2004
2002 - 2003 Theatre Season
o The Air Inside The Rose (three one acts)- Original Fort Lewis College Production
o A Christmas Memory – Truman Capote
o Our Town – Thornton Wilder
o Dance Celebration
o Alice In Wonderland – Children’s Theatre Course--Summer Session May 2003
2001 - 2002 Theatre Season
o Kiss Me Kate-(the musical—collaboration with the Department of Music)
o Lysistrata – Aristophanes/Tr. Ranjit Boldt
2001 Summer—Durango Shakespeare Festival
o Merry Wives of Windsor
o The Tempest
2000 - 2001 Theatre Season
o Through The Fire—Original Fort Lewis College Production
o Mandragola - Machiaveli
o The Boys Next Door
o Dance Concert
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D. Production Accomplishments – Highlights
Fort Lewis College Theatre has developed a reputation for producing some the highest
quality original and devised productions in the state of Colorado if not the region.
Competing with other institutions that have significantly higher budgets dedicated to
mainstream and musical theatre is for us impossible. As such, our dedication to developing
new, original and devised works as clearly paid-off in setting us apart from other Colorado
institutions, if not institutions throughout the Southwest. As such, it behooves us to take
advantage of our skills, expertise and reputation in this area. The highlights of our
departmental production accomplishments have turned out to be those productions which
are our very own original productions, about which our department should have extreme
pride. Additionally, our own original productions give so much in the way of learning
experiences, empowerment, and ownership to our students that we need to continue
utilizing these kinds of productions and experiences to build our image, our reputation and
our program. Although all of our works are significant regarding student accomplishment
and pride, the production accomplishments that have drawn significant regional, national,
and international attention are those that are here considered, these include:
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Fort Lewis College Theatre at the Kennedy Center American College Theatre
Festival Association (KCACTFA) received four awards for our original
production of Air Inside the Rose: Best Direction, Best Choreography, & Best in
Puppetry, and Best Workshop.
Hosting the Rocky Mountain Theatre Association Festival is significant in that
we are the only College/University Theatre major program in the state of Colorado
who does not have a new or renovated facility, yet the RMTA board felt that our
innovative programming and production history merited the invitation to host this
festival.
Invited Showcase Production at the 2008 RMTA Festival in Denver was
clearly kudos to our programming and our production work. Speak Truth to Power
had not heretofore been mounted as a fully staged production. Kerry Kennedy was
so pleased with our production that she came to Denver to deliver the pre-show
address for Fort Lewis College.
Speak Truth to Power as a fully staged production was a collaborative endeavor
between the departments of Theatre, History, Sociology, Human Heritage and the
Common Reading Experience. It drew great regional and national attention to our
program as we brought both Harry Wu and Marina Pisklakova to our department
to deliver pre-show addresses for this production.
Skins New York was a project where our original Fort Lewis College production
was invited to premiere as a professional production at La MaMa ETC in New
York. With special permission from Ellen Stewart students were allowed to
perform. No other institution in Colorado or the Southwest has ever had this honor.
Following this production Skins was invited to perform at the Hong Kong
International Arts Festival in the summer of 2006.
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V. Our Future -- Program Development Possibilities,
Considerations and Plans
A. Program Directions Analysis
1. Statement on Future Plans: Directions with regard to two, five, and ten
year plans
B. Retention and Recruitment Development Possibilities
C. Statement of purpose of NAST accreditation
D. The Future of our Curriculum
1. Teacher Certification Option
2. Dance Option
3. Music & Performance Option
E. The Future of Fort Lewis College Theatre Productions - “The Front Door to Fort
Lewis College”
F. Assessment Development
G. Facilities Development
48
Section V. Our Future -- Program Development Possibilities, Considerations
and Plans
Introduction
Clearly the accomplishments of the Department of Theatre have been guided by the mission
and Strategic Directions of the college toward the best education for our students with the
most innovative learning experiences while utilizing community connections in the form of
bridge-building and service. Our reputation has become stronger with our good work, and
our learning environment is being constantly and duly improved toward better
teaching/learning model. Compared to other Colorado and COPLAC institutions we have an
astonishing number of accomplishments to our credit despite limited faculty members,
limited resources, and dated facilities.
It is important now to consider where we go from here. This next section considers the
possibilities of our directions based on what we have accomplished in specifically our areas
of primary concern: curriculum development to answer to the needs of the future student
population; facilities maintenance and development to offer the best learning environment
possible; enrollment management toward our best enrollment possibilities; and production
possibilities to best serve our students, campus and community. Based on the possibilities
that we as a department see for our department, this next section also gives specific models
of what we think our directions could be.
A. Program Directions Analysis
Theatre/Performance is such a powerful and useful paradigm for understanding and
exploring the human experience on personal and cultural levels. How do we continue here at
Fort Lewis College Theatre to teach in our discipline, as well as in General Education,
developing our pedagogy in such tentative times, maintaining our focus on the highest level
scholarship and the most innovative programming possible whilst serving our greater
community? In this document the Theatre Department faculty members have chosen to
focus on definitive areas of accomplishment and concern.
1. We are very proud of our significant curriculum changes and currently see an increase
in declared theatre majors, perhaps due to this more responsible curriculum
development. We do see, however, some necessary future adjustments to this
curriculum.
2. Our learning environment and technical facilities, while continuing to be challenging
have also been areas of accomplishment.
3. Our production work clearly drives much of our programming, supplies student
opportunities, provides outreach to communities, and gives us collaborative
opportunities with other departments, programs and our communities.
4. And finally the management of our enrollment, specifically with recruitment, retention
and assessment, while improving, is clearly an area of concern.
49
We believe that it might be wise in determining the best directions for our future
development to form an alliance with the National Association of Schools of Theatre
(NAST). We believe that this alliance will give us the pedagogical information necessary to
make the right decisions regarding facility maintenance, curriculum directions, production
development, and enrollment management toward the most successful graduates.
In looking at the bigger picture, where we are located in relation to similar Colorado
institutions, Southwest institutions, nationally recognized institutions and international
perspectives we should also be considering the trans-disciplinary and inter-disciplinary
possibilities that might set our department and Fort Lewis College apart from the typical
liberal arts/theatre degree program. Should we be thinking of the future possibilities of a
paradigm shift from a predominantly formalist and structuralist pedagogy toward a learning
environment that is inter-disciplinary and multi-disciplined? Can a shift like this originate in
one of our most multi-disciplined areas: Theatre? Most colleges and universities are facing
issues, like we are, that involve budget issues, changing needs of students, dwindling student
enrollment, and the questioning of institutional effectiveness. In addition to this we are
questioning our disciplinary effectiveness. As such, the questions that many colleges are
facing are not unlike the questions that we are faced with in our program and this self study:
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How do we define and re-defining our program?
How do we deal with inadequate facilities in the face of decreasing budgetary
support?
How do we develop and maintain a most responsible curriculum that satisfies student
needs while helping to shape their futures and the future of the discipline?
How do we maintain a world-view in our curriculum?
What is useful and valid and needs to be kept?
What is old and suspect in our curriculum?
What is the ideal picture of our departmental curriculum within the school and
college landscape?
Multi-disciplinary and trans-disciplinary programming can help us to better utilize our
budgets in a synergistic way while pedagogically exploring the perspectives and histories of
different disciplines/departments to provide an open environment for understanding the
production of meaning by society, both past and present, in the realms of performing arts,
ritual and visual arts. We often reach out to other departments and programs to collaborate
on curricular development and production work. We will continue to do so and make a
concerted effort to utilize our resources as effectively as possible, offer opportunities to
students not just in our major, but across campus, and throughout our community.
Perhaps the changes proposed below can be a contribution to a larger discourse concerning
the curricular umbrella under which disciplines could share ideas, histories, resources, and
spaces allowing and empowering students and faculty alike to share disciplinary conventions,
processes, and practices toward new works, new thinking, and a more appropriate and
successful education for our students.
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B. Recruitment and Retention Development Possibilities
1. Recruitment Development
Clearly we are going in the right directions with regard to recruitment. We have learned that
we need to develop stronger relationships with our area schools and as well other colleges &
Universities in our region. We have also begun to be better represented at regional and
national theatre and educational organizations. We will continue with these efforts with
enhanced knowledge about how to best represent Fort Lewis College Theatre. Our future
efforts should include:
 Continued Representation at the National Thespian Conference
 Enhanced outreach to area schools
 Continued Representation at the Rocky Mountain Theatre Association
Festival
 Representation at the Kennedy Center American College Theatre Festival
Association
 Continued Representation at the Association for Theatre in Higher Education
 Continued maintenance of our Theatre Department Website
 Close collaboration with our Department of Admissions
 Development of relationships with private schools such as the Cross-roads
School in Los Angeles
 Increased development of scholarship resources for incoming students and
continuing students.
2. Retention Development
If we are the right match for our matriculated students, and give these students the best
education possible, challenge their perceptions of their own capabilities to reach higher
goals, and give them opportunities to network in the professional discipline developing
life-long relationships, they will stay with us. As such we need to constantly work on
developing our abilities to proffer to our students:
 The highest quality well researched courses that are current in the discourse
 Production possibilities that challenge our students, giving them new tools to
work with, while giving them the possibilities for success
 Innovative learning opportunities through work with professionals in the field
 Intern and professional learning opportunities through Community based
learning
 Opportunities to learn, model appropriate professional behaviors
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C. Statement of Purpose of Accreditation with National Association of Schools of Theatre
1. The role of NAST in education at Fort Lewis College
The major responsibility of the National Association of Schools of Theatre is the accreditation of
education programs in theatre, including the establishment of curricular standards and guidelines
for specific degrees and credentials. The Association also provides counsel and assistance to
established and developing institutions and programs. NAST is recognized by the United States
Department of Education as the agency responsible for the accreditation of all theatre curricula.
In addition to the accreditation and consultation functions of the Association, NAST publishes
books and reports, holds an annual meeting and other forums, and provides information to the
general public about educational programs in theatre.
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NAST works with other peer associations such as the Association of Theatre in Higher
Education (ATHE).
NAST participates in the national conversation about educational issues with special
emphases on theatre, the arts, and higher education.
NAST publishes information about their accredited institutions to potential students and
High School programs.
Accreditation is a non-governmental system of academic review. It is a process which periodically
evaluates and produces an independent judgment by peers about the extent to which an institution
or program achieves its own educational objectives and meets the standards established by an
Association. Standards address operational and curricular issues fundamental to educational quality.
The granting of accredited Membership by the Commission on Accreditation signifies that an
institution has successfully demonstrated compliance with the procedures, standards, and guidelines
of the Association. Integral to this voluntary process is ongoing, regularized self-evaluation and
peer review. Accreditation, in practical terms, is a stamp of approval, a sign that an institution
ascribes to, believes in, and has met an external set of basic criteria for the programs it offers. In
some cases, accreditation assists in the transfer of credits from one institution to another. In all
cases, it indicates that threshold standards are adhered to in a fashion that provides a base of
academic strength and operational integrity.
D. The Future of our Curriculum
Much of our programming is supported through collaborative efforts with other departments,
programs and organizations. These collaborative efforts give us opportunities to formally
pursue multi-disciplinary and trans-disciplinary programming which better serves student
needs; makes for a more synergistic use of our resources, and will clearly give students more
options and opportunities, which will in turn bring more students to Fort Lewis College. The
curricular possibilities to be considered in this program review are supported by multiple
departments and include:
1. Teacher Certification Option in Theatre is a collaborative effort between the
Department of Education and the Department of Theatre.
For several years we have been looking at the possibility of a certification in Theatre
through the Education department. When we created tracks we originally had that as a part
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of the plan. We were asked to cut down the number of tracks in order to be able to deliver
them without adding new faculty and so the certification program was deleted. We still are
strongly committed to the idea that the certification program would raise the number of
student served by our program. We feel confident that the courses we offer currently either
fit, or can be adapted with little effort, to cover most of the state requirements of
certification. Work is continuing in this area in conjunction with the Department of
Education and we hope to be able to offer this option to our students in the near future.
2. Dance Option in Theatre as an effort to offer opportunities to more students as well
as increasing our recruitment and retention activities.
Dance courses are offered in two areas at Fort Lewis College: 1. as a skills development
course in the Department of Exercise Science, and 2. as an historic, artistic, technique and
performance form in the Department of Theatre. There has been, over the past five years, a
decided increase in student interest in dance. In addition to the Dance Co-Motion student
organization over 80 students are usually involved in Theatre Department Dance Concerts.
Our department has answered this interest by increasing our offerings in dance technique
courses and as well including in our season of productions an every-other-year Dance
Concert giving students opportunities to work with the exceptionally high quality
choreographers that we have in our department, on our campus and in our community. In
addition to this we have extensive expertise in our Theatre Department in Dance. Of our
faculty many are degreed and highly experienced in dance: Judy Austin, Anne BergPattillo, Susie DiSanto and Kathryn Moller all have at least the master’s degree in addition
to extensive professional, academic and administrative experience in the discipline and as
well curriculum development in dance programs across the nation. We strongly believe
that given our current high quality faculty resources and our current facilities it would be
not only feasible but highly advantageous to our program development, retention and
recruitment and as well advantageous to our college and our department to build in to our
programming an option in Dance. This program of study would look something like this:
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Dance Option
The option in Dance combines practical and theoretical training in various disciplines that
pertain to the field including theatre, art, exercise science, music, and technology. The
practical experience and theoretical knowledge attained in this option is applicable to a
variety of performance and fine art venues such as professional theatres, community
theatres, radio, film, video, music and digital venues, movement, and not-for-profit
organizations. In addition to preparation for working in these venues, the Dance option
provides an understanding of the artistic and practical approaches to dance and is
appropriate preparation for graduate programs and professional preparation programs in
Theatre and Performance Studies.
I. General Education Requirements: Total General Education Credits - 35-46.
Courses marked with * may also be counted toward General Education
requirements. It is recommended that Theatre majors taking the Dance Option
take EGC courses in Performance Art and/or Performance Studies.
II. Core Requirements - Students in the Dance Option would follow the same
Theatre Department Core Requirements as all other Theatre options:
THEA 156/356 Guest Artist Series
2
THEA 296 Sophomore Seminar
2
THEA 240AH1 Ancient and Classical Theatre
4
THEA 340 Modern Theatre
4
THEA 342 Asian Performance
4
THEA 460 Internship in Theatre
1- 4
THEA 300/400 Theatre Production III/ IV *
6
THEA 496/497 Senior Seminar
4
*(This production work would need to involve supervised focus on dance
performance and choreography)
Subtotal Departmental Core Requirements 27-30
III. Specific Theatre Department Requirements for Option
THEA 126AH1 Introduction to The Dance
4
THEA 166 Dance Techniques: Topics
6
THEA 272 Vocal & Physical Preparation
2
THEA 274 Make-up & Costume Design
4
THEA 336 Creating Performance: Directing
4
THEA 366 Dance Techniques: Topics
6
THEA 374 Lighting & Sound Design
4
Subtotal Specific Departmental Requirements 30
Total Department Requirement for Dance Option: 57-60
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3. Music & Performance Option toward increased student possibilities is a collaborative
effort between the Department of Music and the Department of Theatre.
Currently students interested in the performance of music, musical theatre, and various
other performance forms such as Opera tend to cobble together, oftentimes without
appropriate advising, various courses in both departments, Music and Theatre, to attain the
tools and knowledge that they think they need for these various disciplines. Clearly
students do not really have the knowledge and expertise to design their own curricular area
of study. It would best serve our students, the development of both these departments and
help us to increase our recruitment and retention possibilities if we could offer our students
a comprehensive program of study in this area. The development of a music/theatre major
would be quite different than the Dance Option in Theatre listed above as it would need to
be an interdisciplinary degree where the combined efforts of the Departments of Music and
Theatre, utilizing the resources that we currently have, to result in an area of study that
gives students the knowledge and experience that they need to participate in the areas of
musical contribution to theatrical performance and theatrical contribution to musical
performance. The combination of voice courses, with performance courses would clearly
answer this student need. Certainly given the resources that we have in both departments,
we would be able to build a strong voice/performance program of study. Course
requirements for this degree could look something like this:
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Music & Performance
The major in Music & Performance combines practical and theoretical training in the
disciplines of Music and Theatre. The practical experience, historical knowledge,
analytical skills and theoretical foundation attained in this option is applicable to a variety
of performance and music venues such as professional performance, studio performance,
film, video, music and digital venues. In addition to preparation for working in these
venues, the Music & Performance option provides an understanding of the artistic and
practical approaches and is appropriate preparation for graduate programs and professional
preparation programs in similar areas of study.
Core Requirements in Theatre - Students in the Music & Performance major must
take the following courses in the Department of Theatre:
One of the following:
4
THEA 101AH1 Introduction to Theatre 4
Or
THEA 336 Creating Performance: Directing 4
All of the following:
THEA 126AH1 Introduction to The Dance
4
THEA 135 Acting Techniques I
3
THEA 166/366 Dance Techniques: Topics
4
THEA 272 Vocal & Physical Preparation
2
THEA 240AH1 Ancient and Classical Theatre
4
THEA 300/400 Theatre Production III/ IV *
6
THEA 342 Asian Performance
4
THEA 460 Internship in Theatre
1- 4
*(This production work would need to involve
supervised focus on musical performance)
Subtotal Theatre Departmental Requirements 32-35
Core Requirements in Music - Students in the Music & Performance major must
take the following courses in the Department of Music:
MU xxx
MU xxx
MU xxx
MU xxx
MU xxx
MU xxx
MU xxx
MU xxx
MU xxx
Subtotal Music Departmental Requirements XX
III. Additional Departmental Requirements
The Sophomore and Senior Seminar courses need to be taught
collaboratively with faculty from both Music and Theatre Departments.
THEA/MU Sophomore Seminar
2
THEA/MU Senior Seminar
2
Total Inter-Departmental Requirements for Music Performance Option: 56-59
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E. The Future of our Assessment Strategies
We need to make a concerted effort to revise our assessment strategies to better align with
Fort Lewis College Strategic Directions and well as NAST criteria. As we continue our shift
to the new curriculum, assessment needs to become a focal point for the faculty. Our current
assessment system no longer serves our needs. A new system of assessment needs to be
developed. We currently require our students to take an entrance and an exit exam. It is
general test based on the idea that all students will be taking the same courses. Now that the
new curriculum exists, students need to be tested within their track as well as on the
information that will be covered in the core courses. An instrument needs to be developed by
the faculty that is appropriate to the new curriculum. An accompanying exit exam should
also be developed. In addition to this assessment tool, qualifications for assessment in
Sophomore Seminar should be standardized by the faculty. Currently that assessment is
designed to generally assess student progress (portfolios) and doesn’t address the specific
tracks. Issues to consider are: 1. should the Performance and Directing track have to do
something performance related? 2. Does the Design/Technical Theatre track need to do a
design? 3. What should Arts Administration students be evaluated on? We need to take a
closer look at what courses have been completed at this point (since they are on rotation) and
what the expectations are for students by the time they take Sophomore Seminar. The
assessment requirements of Senior Seminar should also be examined and in alignment with
Sophomore Seminar. Some guidelines should be established surrounding the topic choices
for Senior Seminar projects so that they are consistent with the track chosen by the student.
Assessment should be at the top of our priority list as we implement the new curriculum.
Within the next year we should clarify the entrance standards, and the entrance and exit
exams should be completed. The requirements for Senior Seminar should be in place by the
time the current Sophomore Seminar class reaches Senior Seminar, as they are the first class
utilizing the new curriculum.
F. The Future of our Facilities
Our recent (2008-2009) upgrades to our facility have, and will continue to, contribute to
our successes. Nonetheless we are still faced with some obstacles in maintaining the most
effective learning environment. We still need to continue finding resources for outdated
equipment and equipment maintenance and upgrades to be competitive in the academic
industry. Our Theatre Laboratory/Learning facility will continue to have needed
improvements to maintain a competitive, safe, and appropriate environment toward best
student learning and patron experience. We should be looking at these upgrades within the
next two to five years:
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Maintenance and upgrades for many of the tools in our scene shop is becoming
an immediate concern. Many of our tools are outdated, and beyond warranty. Our
table saw, for example is over 20 years old.
Installation of a mid-stage traveler and upgrading of our maid drape will give us
a more functional versatile performance space allowing a wider variety of
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performances, the ability to divide the space so that it can be utilized by more people,
and the ability to allow more students, faculty and classes to utilize the space.
Dressing Rooms and Showers
Currently there are no showers or dressing rooms for the performances. Not unlike
Exercise Science and Athletics, Theatre and Dance are physical activities that
necessitate personal cleanliness and hygiene.
Local Storage Facilities
Storage of costumes, properties and scenery is a continuing challenge. Given the
current fiscal climate, responsibilities, and the desire to be as economical as possible,
we need to be able to store and re-use production items. We currently do not have
enough storage space and find that we must throw away scenery and properties that
could be re-used. Ideally costume storage that is contained, separate from learning
spaces and climate controlled would preserve fabrics and extend the life of
costuming. More learning and workspace could be made available in the costume
and scene shops if there was more storage space.
Lighting Control of Auditorium
The theatre does have an industry standard lighting dimming system. This system
utilizes computer memory for the recording and playing back of the lighting looks.
The controller for this system is over 25 years old and has become outdated and
unreliable. We will need to replace our current system in the next few years.
Larger room capacity for the Gallery Theatre
Currently it is fiscally detrimental to produce ticketed performances in our “Gallery”
Black Box Theatre because the seating capacity is set at 40. This is because of the
distance between the exit doors. Whereas it is not fiscally reasonable to install an
additional exit door, it is feasible to upgrade the interior, temporary wall so that the
doors are further apart.
Energy Efficiency
The lighting instruments that are being used for the theatrical performances are very
inefficient compared to others available. Though most of these instruments are still
available they use 30% more energy than the efficient ones. Though it is a large
purchase to change over the instruments, it will save on the electricity cost in the
future.
Sound
Currently the sound amplification and mixing equipment is outdated and inadequate.
As a responsible institution we need to upgrade toward a more professional audio
playback system that would expose the students to industry standards. The Gallery
Theatre also needs a functional playback system that faculty can use for classes. The
current sound system was created for discarded surplus from other departments.
Digital Projection and Editing
The Department is making more use of digital projection and video integration. It
would make sense that the next years the department would purchase digital
equipment so that our students can be competitive with the convergent media
possibilities. A partnership with the English/Communication and media services has
been established in the past create video dependent productions. The department
currently owns one license for “Isadora” an emerging computer program for video
projection control.
58
VI. Appendices and Information for Report To The
Board of Trustees
A. List of chair and departmental faculty and staff, including rank/title and how long
each has been at Fort Lewis College
B. Faculty CVs
C. Evidence of Curricular accomplishments during review period
1. Course listings for the department
2. Degree Requirements for all options
3. Course Rotation plan to 2011
4. Departmental Brochure
5. Student Departmental Handbook
D. Evidence of Departmental Accomplishments and Development During Review
Period
1. Logistics and Initiatives Chart
2. A comparative statement: NAST Criteria and Fort Lewis College Theatre
3. Letter from External consultant on NAST Accreditation
E. Evidence of Production accomplishments during review period
1. Performance reviews
2. Planning Calendars
3. Season Brochure
F. RMTA Materials
59
Section VI - Appendices and Additional Information for Report To The Board
of Trustees
A. List of chair and departmental faculty and staff, including rank/title and how long
each has been at Fort Lewis College
1. Faculty
a. Kathryn Moller, Professor & Department Chair – January 1994
1. Course responsibilities include Ancient and Classical Theatre, Modern
Theatre, Senior Seminar, Asian Performance, Theatre Internship,
Creating Performance: Directing, Dance Technique, all courses
excluding technical theatre courses.
2. General Education contributions: EGC & TS2R Performance Art, EGC
& TS2R Non-Western Performance, TS2R Gender & Performance.
3. Areas of specialty include: Performance, Performance Art, Directing,
Asian Performance, Dramatic Literature, Theatre Theory, Movement
and Dance.
b.Ginny Davis, Associate Professor – August 1998
1. Course responsibilities include: Acting Techniques I and II, Styles in
Acting, Creating Performance: Directing, Introduction to Theatre,
Sophomore Seminar, Senior Seminar, Audition Techniques, Vocal &
Physical Preparation, Creative Dramatics, Children’s Theatre.
2. General Education contribution: TS2R Gender & Performance.
3. Areas of specialty include: Directing, Acting, Creative Dramatics &
Children’s Theatre.
c. Nathan Lee, Assistant Professor – August 2004
1. Course responsibilities include: Stage Technology, Lighting and Sound
Design, Costume & Make-up Design; Scenic Design and Technology,
Introduction to Theatre.
2. General Education contribution: TS2R & EGC Non-Western
Performance.
3. Areas of specialty include: Design & Technology.
2. Adjunct Faculty (teach only as needed)
a. Judy Austin – August 1998
Introduction to the Dance & Dance Technique
b.Anne Berg-Pattillo – August 2004
Introduction to the Dance & Dance Technique
c. Suzanne DiSanto – August 1998
Dance Technique & Production (Choreography)
d.Jane Gould – January 2009
Production (Costume Design)
e. Felicia Meyer – August 2007
60
Introduction to Theatre, Acting for Camera, Modern Theatre,
Playwriting.
3. Staff
a. Craig Harris – September 2008
Scene shop Supervisor
b.Scott Kadera – August 2005
Media Coordination, Public Relations, Publicity, Web Development,
Administrative Assistant, Box Office supervision.
B. Following please find a compilation curriculum vitae for our faculty and staff
61
C. Evidence of Curricular Accomplishments During Review Period
1. Course listings for the department
2. Degree Requirements for all options
3. Course Rotation Plan to 2011
4. Departmental Brochure
5. Student Departmental Handbook
62
1. Course Listings for the Department
THEA 100 Theatrical Production I 1-4
This course involves initial participation in theatrical production. It includes involvement in
various areas of theatre from inception to presentation. Students with little or no theatre
experience will gain a working knowledge of performance. Repeatable for up to 12 credits.
THEA 101 GAH1 Introduction to Theatre 4
This course offers a general introduction to the theatre and to performance in the human
experience. Students view and discuss films and live performances, and perform scenes in class.
The course emphasizes an understanding of the processes of creating theatre, and of the role of
theatre and performance in the context of cultures and contemporary society. Guest speakers from
other disciplines introduce a variety of perspectives on performance as a human activity. There is
a strong participatory component to the course. (4-0)
THEA 126 GAH1 Introduction to the Dance 4
This course offers an exploration of the historical/ theoretical basis of dance and its many variant
forms. In addition to gaining an historical and theoretical knowledge of dance, this course
includes the practical/technical overview of traditional and contemporary dance forms including
African dance, folk dance, ballet, jazz dance, musical theatre, performance art, and dance
improvisation. Students will gain a general knowledge of technical skills as well as a broad
knowledge and appreciation of the art and history of dance. (4-0)
THEA 135 Acting Techniques I 3
This course introduces students to basic performance techniques including a study of basic
techniques in body, voice, characterization, and play analysis as they are applied to performance.
It includes improvisation skills, performance of dramatic text and literature, text analysis, and
introductory scene work. (3-0)
THEA 156 Guest Artist Series 1-3
This course gives both theatre and non-theatre students the opportunity to work with and learn
from guest artists--directors, designers, and performers--who are visiting from professional
theatre venues of world-renowned status. Students may choose to participate in some or all of the
guest artist series depending on the schedule and the number of registered credit hours.
Repeatable up to 8 times.
THEA 166 Dance Techniques: Topics 2
Students will learn and practice the technique of a specific style while concentrating on personal
abilities, awareness, and ways to correctly train his or her body. The technique taught each
session will vary each term. Repeatable for up to 12 credits maximum in any combination from
Thea 166 and 366. (2-0)
THEA 200 Theatrical Production II 1-4
This course constitutes involvement of the intermediate level student in theatrical production.
Students with a developing dedication to theatre participate in selected areas including but not
limited to dramaturgy, technical theatre, performance administration, and performance.
Repertoire includes classical, modern, musical theatre, and dance. Repeatable for up to 12 credits.
THEA 230 Stage Technology 4
63
This course provides students with a basic working knowledge of the technical aspects of theatre
including scenery construction, costume construction, prop construction, lighting equipment and
its uses, and introductory knowledge of the aspects of stage design. (4-0)
THEA 233 Audition Techniques 2
An audition is the actor's primary tool for securing employment. This course explores the audition
process in terms of text analysis, musical auditions, film auditions, choosing audition materials,
and audition trends across the United States. The purpose of this course is to help students
compile an audition repertoire in order to be competitive in both the professional and educational
world of theatre. (2-0)
THEA 236 Styles in Acting 4
This course is the second in the performing sequence. It further develops the student's
performance skills through the theory and practice of various systems of acting. At this level the
students will focus primarily on styles in acting. Thea 135 suggested, but not required. (4-0)
THEA 238 Acting Techniques II 3
This course involves advanced training in application of acting techniques of the voice and body
including techniques of: freeing the body and voice, body language, movement in the
development of characterization, advanced text analysis, and other actor techniques. (3-0)
Prerequisites: THEA 135
THEA 240 GAH1 Ancient & Classical Theatre 4
This course is the first in the theatre criticism/dramatic literature sequence (240 and 340).
Students taking this course attain a breadth and depth of foundational knowledge of world
theatre/dramatic literature and cultures by examining various styles and traditions of performers,
playhouses, plays, and playwrights to1800. Focus is placed on reading and analyzing plays and
attaining insight into the thinking and theatre conventions of times and places at a greater distance
from our own including: Classical Greek and Roman, Asian, Indonesian, Medieval, Italian
Renaissance, Elizabethan, Jacobean and Caroline, Spanish, French Neo-classic, Restoration and
Enlightenment. (4-0)
THEA 270 Acting for Camera 3
In this course students will be introduced to techniques for performing to camera. Explorations
include appropriate voice/body work. Students should be enabled to grow in confidence and work
with appearance and sound on camera. Commercials and short pieces of TV or film script will be
utilized. The work will be undertaken using video cameras in a rehearsal setting. (3-0)
THEA 272 Vocal & Physical Preparation 2
This course is designed to be a lecture/demonstration/experiential class for students interested in
public performance. It is designed to give each student tools to develop voice and body (physical
and vocal) skills for performance. Students will learn the discourse and practice of physical and
vocal developments with regard to stretching, alignment, placement, anatomy, quality, and
projection. (2-0)
THEA 274 Make-up & Costume Design 4
The study and application of the production elements, materials, methods, and principles of
design as applied to stage costume and make-up. Emphasizes costume history and texts in
analysis and interpretation. Presented is in studio format and project driven. The course explores
concept development, style selection, and extensive practice in a variety of techniques for
costuming and make-up. (4-0)
64
THEA 296 Sophomore Seminar 2
Theatre majors must take Sophomore Seminar after the completion of 14 theatre credits. This
course addresses various facets of the theatre discipline and career planning. (2-0)
THEA 299 Individual Study 1-6
Individual research is conducted under the supervision of a faculty member. Topic and format
must be approved by the Department Chairperson and Dean. 50 contact hours are the equivalent
of one credit hour.
THEA 300 Theatrical Production III 1-4
This course involves participation in a theatrical production, including various areas of technical
theatre, performance, and theatre administration. The maturing student is actively involved in
theatre production(s) during the semester. Repeatable for up to 12 credits.
THEA 310 Scenic Design & Technology 4
This course examines the process of theatrical scene design from early conception to realization.
Course work is project-based. Students are introduced to the crafts of script analysis,
conceptualization, design expression, drafting, and 3-D model building. Involves projects in
theatrical scene design and provides intensive practice in sketching, rendering, drafting, and
model-building. (4-0) Prerequisites: THEA 230
THEA 322 Creative Dramatics 4
Creative Drama uses a student's innate ability to "play" in the developmental process of becoming
a productive well-adjusted human being. This course focuses on using drama as a teaching tool in
multiple disciplines, using drama as a socializing tool for children and adults, and understanding
drama as an art form. (4-0)
THEA 323 Children's Theatre 4
In this performance-based course, students will explore dramatic literature appropriate for child
audiences. Students will travel to area schools, or bring area schools into our facility, to perform
for and with Durango area children. (4-0)
THEA 335 Styles in Acting 3
This course further develops the acting student's performance skills through the theory and
practice of various styles of acting. At this level the students will focus primarily on styles in
acting with regard to specific temporal periods including, but not limited to, Greek, Roman,
Classical French, English Renaissance, Restoration Comedy of Manners, Enlightenment, realism,
and Anti-realism. (3-0) Prerequisites: THEA 135
THEA 336 Creating Performance/Directing 4
This course concentrates on the conceptual and practical application of performance in the form
of creating a production from initial concept to closure. Students will develop and use the skills of
analysis, strategic planning, directing, creating movement, organization, and administration. (4-0)
THEA 340 Modern Theatre 4
This course, the second in the dramatic literature sequence (240 and 340W) surveys
developments in theatre practice and dramatic literature from the beginning of the 19th through
the mid-20th century. The development of modern drama and the concurrent philosophical
thinking in Western theatre history will be the focus of the course. The course will also explore
coinciding developments in Asian and African theatre and intercultural influences. May be taken
as a "Topics" course for English majors. (4-0) Prerequisites: THEA 240
65
THEA 342 Asian Performance 4
The purpose of this course is to facilitate knowledge, discussion, and critical thought of Asian
theatre forms including those from Japan, China, India, and S.E. Asia (Malaysia and Indonesia).
The exploration of Asian theatre gives students a greater breadth of knowledge and clearer
understanding of non-Western perspectives as valid and important to our current culture and
expression of meaning. (4-0)
THEA 356 Guest Artist Series 1-3
This course gives both theatre and non-theatre students the opportunity to work with and learn
from guest artists--directors, designers, and performers--who are visiting from professional
theatre venues of world-renowned status. Students may choose to participate in some or all of the
guest artist series depending on the schedule and the number of registered credit hours.
Repeatable up to 8 times.
THEA 366 Dance Technique 2
Students will learn and practice the technique of a specific style while concentrating on personal
abilities, awareness, and ways to correctly train his or her body. The technique taught each
session will vary each term. Repeatable for up to 12 credits maximum in any combination from
Thea 166 and 366. (2-0)
THEA 369 Playwriting 4
In Playwriting, students develop their own creativity in theatrical forms. Students examine
dramatic plots, characters, dialogue, exposition, setting, theme, new and traditional forms and
other elements of drama through a series of exercises and writing practices. They will read a
number of contemporary plays and attend local performances. All students will write a producible
one-act play. (4-0)
THEA 372 Stage Management 2
Covers stage management from the inception of a production concept through the process of
mounting a production, focusing on the interrelationships of the various artists involved,
management and scheduling of time, and the psychology of handling a wide range of
personalities. (2-0) Prerequisites: THEA 230
THEA 374 Lighting and Sound Design 4
Introduces the craft of stage lighting design and sound technology through experiential projects,
lecture/demos, hands-on production experience, and theoretical projects. Subject matter includes
aesthetics of sound and light, color theory, lighting and sound for performance, electricity,
acoustics, equipment, design graphics, and basic sound and light technology. (4-0)
Prerequisites: THEA 230
THEA 400 Theatrical Production IV 1-4
This course involves in-depth involvement in theatrical production, performance, and technical
theatre. The advanced theatre student will have the opportunity to build on his/her theatre skills in
areas such as acting, dance, technical theatre, costuming, dramaturgy, and theatre administration.
Repeatable for up to 12 credits.
THEA 460 Internship in Theatre 1-4
This course provides students the opportunity to apply what they have learned in the classroom to
a professional theatre organization. Specific requirements of the internship will be determined by
66
the arts organization, the supervising college faculty, and the student. May be repeated once for
up to 8 credit hours. (0-12) Prerequisites: THEA 200 OR THEA 300 OR THEA 400
THEA 496 Senior Seminar 2
This course gives senior theatre majors the opportunity to demonstrate their abilities in
connecting the analytical academic research process to performance. Significant research, on an
approved topic, will result in a substantial paper. Each student's research combined with
insightful performance knowledge, problem-solving techniques, and creative thinking, results in a
public presentation. This is a full course and 496 must be taken in the fall, followed by 497 in the
winter. (2-0) Prerequisites: THEA 340 AND THEA 336
THEA 497 Senior Seminar 2
This course gives senior theatre majors the opportunity to demonstrate their abilities in
connecting the analytical academic research process to performance. Significant research, on an
approved topic, will result in a substantial paper. Each student's research combined with
insightful performance knowledge, problem-solving techniques, and creative thinking, results in a
public presentation. This is a full course and 496 must be taken in the fall, followed by 497 in the
winter. (2-0) Prerequisites: THEA 340 AND THEA 336
THEA 499 Independent Study 1-6
Individual research is conducted under the supervision of a faculty member. Topic and format
must be approved by the Department Chairperson and Dean. 50 contact hours are the equivalent
of 1 credit hour.
67
2. Degree Requirements for all options in Theatre
THEATRE
Department Chair - Kathryn Moller
Professor - Kathryn S. Moller
Assistant Professors - Ginny A. Davis and Nathan Lee
Visiting Instructor - Anne Berg
The Theatre major enables students to fully explore their potential as literate, articulate, and
humane members of society through a close study of the theory and practice of theatre.
Students so trained are able to bring highly developed communication skills, flexibility, and
creativity to a wide range of career opportunities.
The academic program in the Theatre Department is supported by a strong production
program, which is the cornerstone of the department. Performing, technical theatre, and
administrative opportunities are open to all students. Auditions and technical theatre interviews
are held at the beginning of each term. Participation in production is considered an academic
endeavor with course credit available.
The requirements for a minor in Theatre are listed at the end of this section.
THEATRE – THEATRE GENERALIST OPTION
The Theatre Generalist option focuses on the practical and theoretical training areas that will give the student the
greatest breadth and depth of knowledge appropriate to a Bachelor of Arts degree in theatre. The practical
experience and theoretical knowledge attained in this option are applicable to a variety of performance and fine art
venues such as professional theatres, community theatres, radio, film, music venues, movement, and not-for profit
organizations. In addition to preparation for working in these venues, the Theatre Generalist option provides an
understanding of the artistic and practical approaches to performing for public and is appropriate preparation for
graduate programs and professional preparation programs in Theatre.
REQUIREMENTS FOR A BACHELOR OF ARTS DEGREE WITH A MAJOR IN THEATRE – THEATRE
GENERALIST OPTION:
General Education
See pp. xx for General Education requirements.
39
Specific Departmental Requirements1:
THEA 240 Ancient and Classical Theatre
4
THEA 296 Sophomore Seminar
2
THEA 340 Modern Theatre
4
THEA 342 Asian Performance
4
THEA 300/400 Theatre Production III/Theatre Production IV6
Note: Of the six credit hours chosen from THEA 300/400, at least two of these credits should be in technical theatre
and two in performance.
THEA 460 Internship in Theatre
1-4
THEA 496 Senior Seminar
2
THEA 497 Senior Seminar
2
68
Subtotal Specific Departmental Requirements 25-28
Other Departmental Requirements:
THEA 135 Acting Techniques I
THEA 126 Introduction to The Dance
THEA 230 Stage Technology
THEA 336 Creating Performance: Directing
Subtotal Other Departmental Requirements
3
4
4
4
15
Theatre Department Electives—select 14 credits from the following:
THEA 100 Theatre Production I
1-4
THEA 101 Introduction to Theatre
4
THEA 156/356 Guest Artist Series
1-3
THEA 166/366 Dance Techniques: Topic
4
THEA 190/390 Special Topics
1-4
THEA 200 Theatre Production II
1-4
THEA 233 Audition Techniques
2
THEA 238 Acting Techniques II
3
THEA 270 Acting for Camera
3
THEA 272 Vocal & Physical Preparation
2
THEA 274 Make-up & Costume Design
4
THEA 299/499 Individual/Independent Study
1-6
THEA 310 Scenic Design & Technology
4
THEA 322 Creative Dramatics
4
THEA 323 Children’s Theatre
4
THEA 335 Styles in Acting
3
THEA 369 Playwriting
4
THEA 372 Stage Management
2
THEA 374 Lighting & Sound Design
4
Subtotal Theatre Electives
14
Total Major Requirements
54-57
Free Electives (variable)
TOTAL REQUIRED FOR GRADUATION
1
120
Minimum grade of C required in all Theatre (THEA) classes.
Note to transfer and former students: If you have taken any of your major requirements and received a different number of credits
than listed above, you may need to complete additional major credit requirements.
THEATRE – PERFORMANCE & DIRECTING OPTION
The option in Performance and Directing combines practical and theoretical training in various disciplines that pertain
to the field including Theatre, Art, Psychology, Music, and Technology. The practical experience and theoretical
knowledge attained in this option is applicable to a variety of performance and fine art venues such as professional
theatres, community theatres, radio, film, video, music, digital venues, movement, and not-for profit organizations.
In addition to preparation for working in these venues, the Performance and Directing option provides an
understanding of the artistic and practical approaches to performing and directing for theatre and is appropriate
preparation for graduate programs and professional preparation programs in Theatre and Performance Studies.
REQUIREMENTS FOR A BACHELOR OF ARTS DEGREE WITH A MAJOR IN THEATRE –
PERFORMANCE & DIRECTING OPTION:
69
General Education
See pp. xx for General Education requirements.
39
Specific Departmental Requirements1:
THEA 240 Ancient and Classical Theatre
4
THEA 296 Sophomore Seminar
2
THEA 340 Modern Theatre
4
THEA 342 Asian Performance
4
THEA 300/400 Theatre Prod III/Theatre Prod IV
6
Note: Of the six credit hours chosen from THEA 300/400, at least two of these credits should be in technical theatre
and two in performance.
THEA 460 Internship in Theatre
1-4
THEA 496 Senior Seminar
2
THEA 497 Senior Seminar
2
Subtotal Specific Departmental Requirements 25-28
Other Departmental Requirements:
Three (3) of the following courses:
THEA 126 Introduction to the Dance
THEA 135 Acting Techniques I
THEA 238 Acting Techniques II
THEA 272 Vocal & Physical Preparation
Two (2) of the following courses:
THEA 233 Audition Techniques
THEA 270 Acting for Camera
THEA 323 Children’s Theatre
THEA 335 Styles in Acting
4
3
3
2
2
3
4
3
One (1) of the following courses:
THEA 230 Stage Technology
THEA 374 Lighting & Sound Design
4
4
Both of the following courses:
THEA 336 Creating Performance: Directing
THEA 166/366 Dance Techniques: Topics
4
2
Subtotal Other Departmental Requirements
23-27
Auxiliary Department Requirements:
One (1) of the following courses:
MU 101 The Musical Experience
MU 103 Class Instr - Voice
PSYC 157 Introduction to Psychology
3
1
3
One (1) of the following courses:
ART 262 Art History I
ART 263 Art History II
4
4
One (1) of the following courses:
ENGL 304 Digital Video Production
ENGL 308 Interactive Media Production
Subtotal Auxiliary Requirements
Total Major Requirements
4
4
9-11
57-66
Free Electives (variable)
70
TOTAL REQUIRED FOR GRADUATION
1
120
Minimum grade of C required in all Theatre (THEA) classes.
Note to transfer and former students: If you have taken any of your major requirements and received a different number of credits
than listed above, you may need to complete additional major credit requirements.
THEATRE – DESIGN AND TECHNICAL THEATRE OPTION
The Design and Technical Theatre option combines practical theatrical technical and design training with theoretical
explorations in various arts histories such as Theatre, Music, and Art. The experience and knowledge attained in this
option is applicable to a variety of performance and fine art venues such as professional theatres, community
theatres, music venues, dance, and not-for profit arts organizations. In addition to preparation for working in these
venues, the Design and Technical Theatre option provides an understanding of the artistic design and technical
theatre side of creating performance for public and is appropriate preparation for graduate programs in Design and
Technical Theatre.
REQUIREMENTS FOR A BACHELOR OF ARTS DEGREE WITH A MAJOR IN THEATRE – DESIGN
AND TECHNICAL THEATRE OPTION:
General Education
See pp. xx for General Education requirements.
39
Specific Departmental Requirements1:
THEA 240 Ancient and Classical Theatre
4
THEA 296 Sophomore Seminar
2
THEA 340 Modern Theatre
4
THEA 342 Asian Performance
4
THEA 300/400 Theatre Prod III/Theatre Prod IV
6
Note: Of the six credit hours chosen from THEA 300/400, at least two of these credits should be in technical theatre
and two in performance.
THEA 460 Internship in Theatre
1-4
THEA 496 Senior Seminar
2
THEA 497 Senior Seminar
2
Subtotal Specific Departmental Requirements 25-28
Other Departmental Requirements:
THEA 230 Stage Technology
THEA 372 Stage Management
4
2
Two courses from the following:
THEA 274 Make-up & Costume Design
THEA 310 Scene Design & Technology
THEA 374 Lighting & Sound Design
4
4
4
Subtotal Specific Departmental Requirements
14
Auxiliary Department Requirements:
ENGR 103 Computer Aided Drafting
ART 109 Visual Foundations I
ART 110 Visual Foundations II
MU 101 The Musical Experience
ART 262 Art History I
ART 263 Art History 2
Subtotal Auxiliary Requirements
3
3
3
3
4
4
20
Total Major Requirements
59-62
71
Free Electives (variable)
TOTAL REQUIRED FOR GRADUATION
1
120
Minimum grade of C required in all Theatre (THEA) classes.
Note to transfer and former students: If you have taken any of your major requirements and received a different number of credits
than listed above, you may need to complete additional major credit requirements.
THEATRE – ARTS ADMINISTRATION OPTION
The Arts Administration option is designed to combine training in practical theatre and various arts histories—
combining theatre, dance, music, and art—with business knowledge applicable to a variety of performance and fine
art contexts such as community theatres, music venues, dance, and not-for profit arts organizations. In addition to
preparation for working in these venues, the Arts Administration option provides an understanding of the business
side of creating performance for public and is appropriate preparation for graduate programs in arts administration.
REQUIREMENTS FOR A BACHELOR OF ARTS DEGREE WITH A MAJOR IN THEATRE – ARTS
ADMINISTRATION OPTION:
General Education
See pp. xx for General Education requirements.
39
Specific Departmental Requirements1:
THEA 240 Ancient and Classical Theatre
4
THEA 296 Sophomore Seminar
2
THEA 340 Modern Theatre
4
THEA 342 Asian Performance
4
THEA 300/400 Theatre Prod III/Theatre Prod IV
6
Note: Of the six credit hours chosen from THEA 300/400, at least two of these credits should be in technical theatre
and two in performance.
THEA 460 Internship in Theatre
1-4
THEA 496 Senior Seminar
2
THEA 497 Senior Seminar
2
Subtotal Specific Departmental Requirements 25-28
Other Departmental Requirements:
THEA 101 Introduction to Theatre
THEA 126 Introduction to the Dance
4
4
Subtotal Other Departmental Requirements
8
SOBA Auxiliary Department Requirements2,3:
ECON 262 Principles of Microeconomics
ACC 225 Intro to Financial Accounting
BA 260
Legal Environment of Business
MK 260 Business Creativity and Innovation
MK 350 Marketing
3
4
3
2
4
One additional course from the following two courses:
MK 385 Consumer Behavior
MK 371 Advertising & Public Relations
3
3
Subtotal SOBA Auxiliary Requirements
19
Other Auxiliary Department Requirements:
72
MU 101 The Musical Experience
ART 263 Art History II
ENGL 315 Media Writing
3
4
4
Subtotal Auxiliary Requirements
Total Major Requirements
11
63-66
Free Electives (variable)
TOTAL REQUIRED FOR GRADUATION
120
1
Minimum grade of C is required in all Theater (THEA) classes.
Minimum grade of C- is required in SOBA Auxiliary Requirements.
3
Students may not take more than 30 credits in Accounting, Business Administration, Economics, and marketing due to SOBA
accreditation standards.
2
Note to transfer and former students: If you have taken any of your major requirements and received a different number of credits
than listed above, you may need to complete additional major credit requirements.
THEATRE MINOR
REQUIREMENTS FOR A MINOR IN THEATRE:
Departmental Requirements:
THEA 240 Ancient and Classical Theatre
4
One of the following two courses:
THEA 135 Acting Techniques
THEA 230 Stage Technology
4
4
A total of 4 credits from THEA 300 (Theatrical Production III) and THEA 400 (Theatrical Production IV). Both courses
are variable credit from 1-4.
Theatre Electives--a total of 8 credits from:
THEA 100 Theatre Production I
THEA 101 Introduction to Theatre
THEA 156/356 Guest Artist Series
THEA 166/366 Dance Techniques: Topic
THEA 190/390 Special Topics
THEA 200 Theatre Production II
THEA 233 Audition Techniques
THEA 238 Acting Techniques II
THEA 270 Acting for Camera
THEA 272 Vocal & Physical Preparation
THEA 274 Make-up & Costume Design
THEA 299/499 Individual/Independent Study
THEA 310 Scenic Design & Technology
THEA 322 Creative Dramatics
THEA 323 Children’s Theatre
THEA 335 Styles in Acting
THEA 340 Modern Theatre
THEA 369 Playwriting
THEA 372 Stage Management
THEA 374 Lighting & Sound Design
1-4
4
1-3
4
1-4
1-4
2
3
3
2
4
1-6
4
4
4
3
4
4
2
4
TOTAL REQUIRED FOR THEATRE MINOR
20
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3. Curriculum Rotation Plan
Proposed course load assignments for the next four years utilizing the current adjunct load
of 14 to 18 credit hours per semester (updated 28 November 08 to be accurate)
2008-2009 Academic year
Fall ’08
THEA 101AH1 Introduction to Theatre
4
THEA 126AH1 Introduction to The Dance
4
THEA 100/200/300/400 Theatre Production var
THEA 156/356 Guest Artist Series
2
THEA 135 Acting Techniques I
3
THEA 240AH1 Ancient and Classical Theatre 4
THEA 296 Sophomore Seminar
2
THEA 322 Creative Dramatics
4
THEA 460 Internship in Theatre
1-4
THEA 496 Senior Seminar
2
EGC 315 Performance Art
4
TS2R 409 Non-Western Theatre
4
Lee
Berg
Davis(3),Lee(4),Kramer(4)
Moller
Davis
Moller
Davis
Davis
Moller
Moller
Moller
Lee
Davis 12
Lee
12
Moller 12
Adjunct 8
Winter ’09
THEA 101AH1 Introduction to Theatre
THEA 100/200/300/400 Theatre Production
THEA 166/366 Dance Techniques: Ballet
THEA 166/366 Dance Technuques: Jazz II
THEA 230 Stage Technology
THEA 270 Acting for Camera
THEA 323 Children’s Theatre
THEA 335 Acting Techniques II
THEA 340 Modern Theatre
THEA 374 Lighting & Sound Design
THEA 336 Creating Performance: Directing
THEA 497 Senior Seminar
4
var
2
2
4
3
4
3
4
4
4
2
Meyer
Lee(4)/Davis(4)/Moller(2)Adjunct(8)
Austin
Berg
Lee
Adjunct
Moller
Davis
Moller
Lee
Davis
Moller
Davis 11
Lee
12
Moller 12
Adjunct 19
Summer ‘09
THEA 460 Internship in Theatre
TS2 Gender & Performance
1-4
4
Moller
Davis
74
2009-2010 Academic year
Fall ’09
THEA 100/200/300/400Theatre Production var
THEA 101AH1 Introduction to Theatre
4
THEA 126AH1 Introduction to The Dance
4
THEA 135 Acting Techniques I
3
THEA 156/356 Guest Artist Series
3
THEA 166/366 Dance Techniques
2/2
THEA 230 Stage Technology
4
THEA 233 Audition Techniques
2
THEA 240AH1 Ancient and Classical Theatre 4
THEA 296 Sophomore Seminar
2
THEA 342 Asian Performance
4
THEA 460 Internship in Theatre
1
THEA 496 Senior Seminar
2
TS2 Gender & Performance
4
Davis
Lee(4)/Moller(2)/Adj.(7)
Lee
Adjunct-Berg
Davis
Adjunct
Adjunct
Lee
Davis
Moller
Davis
Moller
Davis
Moller
Davis 12
Lee
12
Moller 12
Adjunct 18
Winter ’10
THEA 100/200/300/400 Theatre Production
THEA 101AH1 Introduction to Theatre
THEA 166/366 Dance Techniques
THEA 272 Vocal Physical Preparation
THEA 270 Acting for Camera
THEA 274 Make-up & Costume Design
THEA 310 Scenic Design & Technology
THEA 335 Styles in Acting
THEA 340W Modern Theatre
THEA 369 Playwriting
THEA 372 Stage Management
THEA 497 Senior Seminar
EGC Performance Art
var
4
2/2
2
3
4
4
3
4
4
2
2
4
Davis(4)/Lee(4)/Moller(4)/Adjunct(4)
Adjunct
Adjunct
Adjunct
Adjunct
Lee
Lee
Davis
Moller
Adjunct
Davis
Davis
Moller
Davis 11
Lee
12
Moller 12
Adjunct 19
Summer ‘10
THEA 101AH1 Introduction to Theatre
THEA 460 Internship in Theatre
EGC/TS2 TBD
4
1-4
4
TBD
TBD
TBD
75
2010-2011 Academic year
Fall ’10
THEA 126R Introduction to The Dance
THEA 100/200/300/400Theatre Production
THEA 156/356 Guest Artist Series
THEA 335 Styles in Acting
THEA 270 Acting for Camera
THEA 233 Audition Techniques
THEA 240R Ancient and Classical Theatre
THEA 310 Scenic Design & Technology
THEA 369 Playwriting
THEA 460 Internship in Theatre
THEA 496 Senior Seminar
EGC Performance Art
4
var
3
3
3
2
4
4
4
1 -4
2
4
Adjunct
Lee(4)/Davis(4)/Moller(4)/Adj.(4)
Adjunct
Davis
Adjunct
Davis
Moller
Lee
Adjunct
Non-Scheduled
Davis
Moller
Davis 11
Lee
12
Moller 12
Adjunct 18
Winter ’11
THEA 101Introduction to Theatre
THEA 100/200/300/400 Theatre Production
THEA 156/356 Guest Artist Series
THEA 230 Stage Technology
THEA 296 Sophomore Seminar
THEA 135 Acting Techniques I
THEA 372 Stage Management
THEA 166/366 Dance Techniques: Topics
THEA 374 Lighting & Sound Design
THEA 340 Modern Theatre
THEA 336 Creating Performance: Directing
THEA 460 Internship in Theatre
THEA 497 Senior Seminar
TS2/EGC Gender & Performance
4
var
3
4
2
3
2
2/2
4
4
4
1—4
2
4
Adjunct
Davis(4)/Lee(4)/Adjunct(4)
Adjunct
Lee
Moller
Davis
Moller
Adjunct
Lee
Moller
Moller
Non-Scheduled
Davis
Davis
Davis 13
Lee
12
Moller 12
Adjunct 15
Summer ‘11
THEA 460 Internship in Theatre
THEA 323 Children’s Theatre
1-4
4
TBD
Faculty TBD
76
4. Departmental Brochure
77
5. Student Departmental Handbook
78
D. Evidence of Departmental Development and Professionalism
1. Logistics and Initiatives Chart
2005-2009
Revised & updated 26 November 2008
20052006
Personnel Changes &
Initiatives
Curricular Changes
& Initiatives
Initiatives
Environment/Facilities
Co-curricular, Extracurricular
Endeavors
Strategic Plan OneImprove education and
quality learning
experiences
Strategic Plans OneStrengthen & Grow
opportunities and
programs toward
higher student success;
and Two-Quality
Enrollment.
Strategic Plans Four – increasing
financial support by maintaining
and improving patron facilities;
and Five – Enhancing work
environment for students, staff
and faculty
Strategic Plans One through Four are
served here as the theatre extracurricular
activities offer innovative quality learning
experiences (One); encourage increased
quality enrollment (Two); increase
opportunities for outreach and
community involvement (Three); and
increase people inclinations toward
support (Four).
 An initiative was started
this year to instigate
better professional
behaviors in the
department. This
initiative has proven to
be increasingly successful
as all faculty are focusing
more of their energies
toward students,
departmental success and
best working practices.
 The guest artist series
was initiated this
academic year to great
success as a curricular
 Revision of our
entire curriculum
was in process with
curriculum
committee.
New floor in gallery has
enhanced our ability to teach and
empowers our students to learn
better.
 We need to try to instigate
how other similar changes in
our environment will affect
teaching/learning, as well as
retention, recruitment, and
image on campus and to
community/public, and then
pursue support for these
improvements.
 Summer theatre programming
 External consultant toward NAST
(National Assoc. of Schools of Theatre)
accreditation
 Participation at the National
Conference ATHE (American Theatre
in Higher Education)
 Participation at the USITT Conference
(United State Institute of Technology)
79
and personnel initiative.
20062007
Personnel Changes &
Initiatives
Curricular Changes
& Initiatives
Initiatives
Environment/Facilities
 This year we tried to
initiate a more
professional faculty/staff
personnel with the
utilization of adjunct
hours for acting and
playwriting classes as well
as directing and musical
direction for our musical
Wizard of Oz. This has
turned-out exceptionally
well as these adjuncts are
instigating an exciting
and new energy, and
modeling professional
behaviors for our
students.
This year we went
through the curriculum
revision process and
approval process with
curriculum committee
and provost. The
reasons for this change
were to align with the
Presidential strategic
plan with regard to
student recruitment,
retention, unique
learning experiences
and service learning.
Compromises were
made in our curricular
changes to satisfy
provost concerns, but
we will make it work.
As our building gets older it is
becoming a more and more
dysfunctional as well as
depressing environment within
which to teach and empower
students. We are having constant
conversations with physical plant
about not only long term
improvements (mentioned above)
but daily maintenance and
cleaning, which is problematic,
especially in our main stage
space. Multiple requests have
been made for funding that can
help us maintain a safe,
functional and professional
environment for students and
patrons alike. We are waiting to
see if any funding will come
forth.
Personnel Changes &
Initiatives
Curricular Changes
& Initiatives
Initiatives
Environment/Facilities
Co-curricular, Extracurricular
Endeavors
 Web Development
 Summer Reading Series
 Strengthening affiliation with RMTA
(Rocky Mountain Theatre Association)
by attending conference & participating
 Common Reading Experience: Folding
Paper Cranes
 Theatre production season which
included: Three Tall Women; Waiting for
Godot; and Wizard of Oz. All of our
performances include
participation/outreach with community
in various ways, utilization of Guest
Artists, Lecturers, or experts. And as
well multiple performances (evenings
and matinees) for students and the
general public. Students are given
discount prices for tickets to enable
them to attend.
 Research towards NAST Accreditation
Co-curricular, Extracurricular
Endeavors
80
20072008
 Technical Director
position seems to be
more than our faculty
person can facilitate. As
such, this year we
consistently focused on
finding ways to empower
our Technical Director
position to be more
effective. This has been
our primary effort in
personnel initiatives this
year. This initiative
included attempts to
“lighten” the work-load
in the following ways:
1. Hire student
properties master
2. Bring in professional
cleaners to clean the
shop and stage areas
3.Utilize PPS to do as
many duties as possible
for TD
4. Find design ideas for
shows that require
minimum TD effort
5.Hire external lighting
designer
6.Hire external Sound
designer
7.Hire sound facilitators
 This was our first year
with curriculum
revisions in place.
Promises to go well,
but we will see as this
academic year
progresses.
 Proposals for three
TS2 courses to
become EGC courses:
one of these was
approved and
currently covers both
EGC and TS2R
(Performance Art);
Non-Western
Performance is still in
process, and Gender
and Performance will
not become an EGC
course.
Longer term goals include some
building maintenance for safety
and image. Part of being
responsible and maintaining our
building include:
 small projects for updating
main stage facility:
 re-building a new sound
control area
 re-organizing and cleaning of
the properties area
 painting, cleaning and reorganizing our shop area
 new draping for our Gallery
“Black-box” theatre
 building cubbies for our
students
 installing a kiosk computer for
our students
Theatre production season to include:
1. Manifest Voices;
2. Dance Concert
3. Evening of One Acts
4. Dante’s Inferno
 All of our performances include
participation & outreach with
community in various ways, utilization
of Guest Artists, Lecturers, or experts.
And as well multiple performances
(evenings and matinees) for students
and the general public.
 We are planning to host the ’09 RMTA
Regional Conference, if we can get
institutional support
 Attend and presenting at various
professional conferences including the
ATHE conference, USITT, and the
Leadership Institute
 Culminating research to pursue NAST
Accreditation this next academic year
81
for recording
8.Request funding for a
Shop Supervisor to
alleviate load
 This year we continued
to best utilizing adjunct
faculty and Guest Artist
series as innovative and
powerful teaching and
student experiences. This
practice has certainly
elevated our work, the
work of our students,
and instigates a more
professional atmosphere
in our environment.
Personnel Changes &
Initiatives
20082009
Curricular Changes
& Initiatives
Our request for funding for  This is the year that
a Shop Supervisor was
we will be initiating
approved. Our initiative
our CBLR course,
will be to work to make this
Internship in Theatre
an effective position for our
as a fully functional
entire department.
outreach course
placing students in
venues not just in the
Durango/4 corners
area but at
Initiatives
Environment/Facilities
Co-curricular, Extracurricular
Endeavors
We continue to struggle with our
attempts to create a most
functional, empowering
teaching/learning environment
in our limited, old facility. We
have managed to raise some
monies to be used specifically for
our theatre seating, however have
learned that our stage proper is in
disrepair and is becoming a more
Theatre production season to include:
1. Raised in Captivity
2. Chicago (the musical)
 All of our performances include
participation & outreach with
community in various ways, utilization
of Guest Artists, Lecturers, or experts.
And as well multiple performances
(evenings and matinees) for students
and the general public.
 We are hosting the ’09 RMTA Regional
82
international venues.
serious safety hazard. We do not
have the resources or expertise to
fix this ourselves and so will be
researching and asking for
structural maintenance, and
professionals to help with this as
a special project.
Other facilities/environmental
projects initiatives include:
 seating, draping, sound
treatment, painting of floor
and walls
 painting for black-box theatre
(122)
 Lobby facelift including
carpeting and painting
Conference February 17 through 21
which will include performances every
afternoon and evening and utilize not
only our theatre space but the
Community Concert Hall.
 Our faculty will attend and present at
various professional conferences
including RMTA, ATHE, Women &
Theatre, Leadership Institute and
USITT
 NAST Accreditation procedures this
academic year
 Summer Theatre programming
proposals will be considered in
collaboration with our curriculum
offerings
83
2. A comparative statement: NAST Criteria and Fort Lewis College and its Department of Theatre
As is clarified in the official ’08-’09 handbook for The National Association of Schools of Theatre (NAST), the purpose of the
organization is to recognize many types of programs in degree granting institutions. “The primary purpose for all institutions,
whatever types of programs they offer, should be to provide the best possible environment for education and training in theatre.
Such an environment should foster an understanding of the arts and an attitude of respect for their potential contribution to society.
Applicants for accreditation as degree-granting members are two-year, four-year, or five-year undergraduate or graduate level
institutions.” It is important to understand that it is not the department, but rather the college which is ultimately accredited. As
such, many of the Standards listed below concern the structure, infrastructure and governance of the entire college rather than the
department.
Accredited institutions must meet the Basic Criteria or Standards for Membership. The following chart outlines the Basic Criteria
and Standards for NAST Accreditation and informally evaluates where Fort Lewis College might stand as an institution and then
as a Department of Theatre. This informal evaluation then attempts to evaluate where we might anticipate deficiencies with our
college or programming regarding NAST Accreditation. Please know that this is an informal evaluation utilizing the published
NAST Standards and Criteria, actual NAST deemed deficiencies cannot be determined until the facilitation of a formal application
and NAST site visit:
Standards for NAST
Accreditation as per the
“2007-2008 and beyond”
Handbook
A.
Purpose of the
Institution and of the
Theatre Unit --The
institution shall maintain
a curricular program of
education and training in
theatre.
Overall College
demonstration of compliance
with this Standard
Fort Lewis College is compatible
with NAST standards in this area
as all purposes are published
regarding vision, mission, goals
and strategic plans for both the
overall college as well as the
Department of Theatre.
Fort Lewis College
Department of Theatre
compliance with this
Standard.
Where we at Fort Lewis
College and its
Department of Theatre
might find deficiencies
with this Standard.
Whereas the College and
The Department of Theatre is
Department have well thought
compatible with this standard as all out action plans and long term
purposes (vision, Mission, goals,
goals the department currently
etc.) as aligned with the FLC
needs to better articulate our
Strategic plan are articulated in
action plans regarding faculty
departmental documentation.
initiatives toward long term
goals. This is currently in
process.
Approximat
e cost to
alleviate
said
deficiencies.
$0
84
B.
The institution shall
offer at least one
complete degree
program, e.g., Bachelor
of Fine Arts, Bachelor of
Arts with a major in
Theatre, et al., or shall
provide the theatre
component of a degree
program offered in
conjunction with an
accredited degreegranting institution.
Fort Lewis College Department of Theatre under the administration of
Fort Lewis College, and as approved by the Curriculum committee,
Dean of the School of Arts, Humanities & Social Sciences, and the Vice
President for Academic affairs offers the following through the
Department of Theatre: 1. a Bachelor’s degree in theatre from four
dissimilar options (Performance & Directing, Design & Technical
Theatre, Arts Administration, or Generalist); a major in Humanities with
primary or secondary concentration in Theatre; and a minor in Theatre.
C.
The institution shall
have graduated at least
Founded in 1911, Fort Lewis
one class of students who College has been granting the
have been through the
Bachelor’s degree since 1962.
institution’s own
program from beginning
to final year, and another
class shall be in
readiness subject to
examination.
D.
An institution
offering graduate
programs must have
graduate students
enrolled and have clearly
defined residency
requirements.
The institution’s
legal authority shall be
Fort Lewis College does not offer
graduate programs in this area.
The Department of Theatre at Fort
Lewis College was since 1962
affiliated with the Department of
English offering a concentration in
Theatre, in 1994 a major in theatre
was approved by the state (CCHE)
and in 2006 the four-option system
began.
The Department of Theatre does
not offer graduate programming
nor are there graduate student
enrolled.
There are no apparent
deficiencies in our curricular
programming.
$0
There are no apparent
deficiencies in this area.
$0
Not applicable.
$0
E.
Legal authority of Fort Lewis
The Theatre Unit of Fort Lewis
85
clearly stated in its
published materials as
identified by its charter,
authority to grant
degrees, structure of
control, profit or nonprofit status, and any
affiliation with a parent
institution.
College and the Department of
Theatre is clearly stated in its
published materials with a Board
of Trustees, an active Faculty
Senate, a clear organizational
structure of administration, faculty
members and staff.
College is implemented by a
Department Chair who is
supervised by the Dean of Arts,
Humanities and Social Sciences.
All policies regarding campus–
wide admission & retention are
clearly defined in the Fort Lewis
College catalog as well as on the
web-site.
All policies regarding admission &
retention of students within the
Department of Theatre are clearly
defined in the Departmental
Handbook.
All policies regarding tuition and
fees are clearly defined in the Fort
Lewis College catalog as well as
on the web-site.
Any additional fees for Theatre
Department activities or course
related endeavors are clearly
defined in the course schedule or
course syllabi.
All Fort Lewis College faculty
members who oversee or are
appointed to the theatre unit, are
duly qualified, and accomplish
their purposes. Institutional
student/faculty ratios, faculty
evaluations, faculty loads/class
size are in compliance with NAST
All Department of Theatre faculty
members are qualified in the
discipline by earned degrees
and/or professional experience.
Departmental student/faculty ratios
are far better than the national
average; faculty loads are
compliant and faculty members
There are no known
deficiencies in this area.
$0
F.
All policies
regarding admission and
retention of students, as
well as those pertaining
to the school’s
evaluation of progress,
shall be clearly defined
in literature published by
the institution
There are no known
deficiencies in this area.
$0
G.
All tuition, fees, and
other charges, as well as
all policies pertaining
thereto, shall be clearly
described in the
institution’s published
literature.
H.
Faculty members
shall be qualified by
educational background
and/or professional
experience for their
specific teaching
assignments. The
institution shall list its
There are no known
deficiencies in this area.
$0
There are no apparent
deficiencies in this area.
$0
86
faculty in its published
literature.
standards. Faculty development
programs are in place.
I. The institution shall have The overall campus of Fort Lewis
facilities and equipment
commensurate with the
needs of its educational
program.
College has beautiful facilities
with adequate space, equipment
and technology to accommodate
the disciplines taught.
receive release hours for
production activities. All faculty
members in the department of
theatre engage in faculty
development activities.
The department of theatre has
adequate facilities, equipment and
technology to support the needs of
our current curricular offerings.
These include the following-Standards:
a. Facilities, technology, and
Costume shop equipment
are adequate for
specialized and advanced
work, as well as functional
for our goals.
b. Appropriate number of
rehearsal, performance &
classroom spaces serves
scope of program &
number of students.
c. Students are apprised of
safety & health hazards
and instructed in proper
handling & operation.
d. We are technologically
ahead of many NAST
accredited institutions.
e. Our facilities are
accessible, safe and meet
the standards of local fire
and health codes.
f. We address health and
safety issues continually.
NAST might make
recommendations to alleviate
deficiencies in our current
facilities in the following
areas:
Standards:
a. There needs to be a
plan to appropriately
update scene shop
equipment for
specialized and
advanced work.
b. Need to evaluate
ventilation strategize
plan for proper
ventilation
c. Budget provisions
need to be made to
maintain facilities and
update equipment
a. New table
saw, & other
carpentry
equipment
$5,000 (one
time)
b. Unknown
c. additional
$2000 year to
OCE should
be sufficient
to gradually
update/replace
equipment to
be NAST
compliant.
87
And adheres to the following
guidelines:
a. Our facilities are
sufficiently localized and
efficient.
b. Students have access to
studios out of class time.
c. We have space for
costume construction
maintenance and storage.
d. Instructional equipment is
adequately and safely
stored.
e. Office space is adequate.
f. There is appropriate space
and equipment for
administrative functions.
g. Equipment provided for
student learning includes:
lighting, scenery,
costumes, sound,
computers.
h. Facilities & equipment
produces and environment
conducive to
learning/teaching and
academic/artistic
endeavors.
Exceptions or discrepancies to
Guidelines:
a. Dance studio is across
campus in Skyhawk
Hall
b. Acoustics in theatre
are not suitable for
production or
laboratory, a plan is in
place to alleviate this.
c. We have space for
scenic construction
and maintenance, but
inadequate storage.
d. We do not have
shower facilities.
e. We do not have
adequate equipment
for instruction/use of
Video/film within the
department. This is
alleviated by
collaborating with
English/Communicati
ons.
f. We do need a more
comprehensive plan,
created in
collaboration with the
physical plant, for
regular upkeep of
facilities and
replacement of
a.
$0
b. $10,000
c. NAST
recommendati
on for this is
unknown.
d. Unknown
e. $0
f. Unknown
88
equipment.
The Department of Theatre has a
Library Liaison representative and
resources for yearly maintenance
of Library holdings. The entire
department participates in
contributing requests to better
align our library’s holdings to the
needs of the classes and the current
trends in the discipline.
J. The institution shall have
library space and
resources commensurate
with the needs of its
educational program.
K.
The institution shall
demonstrate a
commitment to a
program of continuous
self-evaluation.
L.
The institution shall
be licensed or chartered
to operate as required by
local and state legal
codes. The institution
shall meet all legal
requirements to operate
wherever it conducts its
Fort Lewis College goes through
numerous college wide as well as
program reviews as stipulated by
Higher Learning Commission of
North Central Association of
Colleges and Schools, and of the
State of Colorado by Colorado
Department of Education (CDE)
and the Colorado Council on
Higher Education.
Fort Lewis College is chartered to
operate and meets all legal
requirement to operate as an
national institution by the Higher
Learning Commission of North
Central Association of Colleges
and Schools, of the State of
Colorado by Colorado Department
The Department of Theatre goes
through a program review every
seven years and is due for its next
review in the ’09-’10 academic
year.
There are no known
deficiencies in this area.
$0
It is hoped that this review will
occur about the same time as a
self study toward NAST
accreditation in order to best
utilize our resources.
$0
There are no known
deficiencies in this area.
$0
89
activities. Multipurpose
institutions offering
degrees in theatre and in
other disciplines shall be
accredited by the
appropriate regional or
institutional accrediting
agency.
of Education (CDE) and by the
Colorado Council on Higher
Education. Currently Fort Lewis
College is accredited in various
disciplines including:
Accreditation Board for
Engineering and Technology,
American Chemical Society,
Association to Advance Collegiate
Schools of Business International,
Commission on Accreditation of
Athletic Training Education, and
the National Association of
Schools of Music.
M.
The institution shall
provide (or, in the case
of foreign studies
programs, be responsible
for) all coursework or
educational services to
support its educational
programs, or
demonstrate that any
cooperative or contracted
coursework or
educational services are
provided by an outside
institution or
organization having
accreditation as an entity
by a nationally
recognized accrediting
agency.
Regarding the administration of
the overall campus, Fort Lewis
College is currently compliant
with NAST Standards for
demonstrated responsible service
to its programming and major
requirements. This is published in
our yearly catalog.
The department of theatre has put
together a plan wherein all courses
are offered within a 1, 2 and 3 year
basis. As such, it is possible for
any student to fulfill the
requirements for their chosen
course of study in Theatre within
four years.
There are no known
deficiencies in this area.
$0
90
3. Letter from External Consultant on Possibilities of NAST Accreditation
91
E. Evidence of Production accomplishments during review period
1. Performance reviews
2. Planning Calendars
3. Season Brochure
4. RMTA Materials
92