ADVISING

PLANNING YOUR MAJOR

Given the number of options regarding majors in our department, and the limited times at which particular courses are offered, it is important to carefully plan the sequence and timing of your courses in consultation with your advisor. To assist you in planning your major, here is a general outline of when our department customarily offers courses:

FALL SEMESTER

Introduction to Theatre

Fundamentals of Dance
Acting

Topics in Design and Technology for the Theatre

International Dance
Modern Dance (various levels)
Ballet (various levels)
Dance Repertory
Advanced Directing
Fundamentals of Choreography


SPRING SEMESTER

Theatre History Seminar (Two out of three years, "w" course)
Acting
Topics in Design and Technology for the Theatre
Dance and Culture (odd years; comp. civ. option)
Dance History (even years; "W" course option)
Modern Dance (various levels)
Jazz Dance (various levels)
Ballet (various levels)
Advanced Acting (even years)
Applied Choreography
Text and Movement (odd years)

There are a number of considerations unique to each focus area that must be taken into account as you plan:

ACTING/DIRECTING - The design and technology courses will normally be completed before taking Advanced Directing; Theatre History seminar must be taken (if offered) during your sophomore year if you are planning to study abroad; Fundamentals of Dance should be taken before completion of Advanced Acting. Although English 392, Shakespeare, has a pre-requisite listed in the catalogue, theatre arts majors have traditionally been allowed by the instructor to enroll in this course without the pre-requisite.

DRAMATIC LITERATURE - The primary challenge in this focus area is identifying and completing the four required dramatic literature courses required in addition to the "core." Classical Studies regularly offers Greek Comedy and Tragedy; there are many dramatically-based courses offered in the English department. Students are especially encouraged to take note of courses offered by the Modern Language departments, which in many cases focus on the plays of a particular country/culture. Professors will often offer these courses in English, and Dramatic Literature majors are encouraged to indicate their interest to appropriate modern language faculty early in the process of planning their course of study.

DANCE - Majors should complete Fundamentals of Choreography in a timely fashion, allowing them to prepare in the most effective way for Applied Choreography. Acting must be taken before or during the completion of Directing. Majors planning to spend their junior year abroad should speak with the Director of Dance early in the process to plan completion of Dance History and Dance and Culture. Dance emphasis majors are especially encouraged to take Design and Technology for the Theatre during the semester in which costumes, lighting and/or sound are the topics.

DANCE & MUSIC - Students should request an advisor from each department, one of whom will be designated program coordinator/principal advisor, depending on the interests of the student and the potential Applied Project. Students may choose the Research or Practicum track within this major. For either track, it is necessary to take Dance & Culture and Dance History as soon as possible. It is important for majors in the Practicum track to complete Fundamentals of Choreography in a timely fashion in order to make possible the most effective sequencing of Applied Choreography and the final project. The final project should grow out of coursework and combine both subfields. The project is usually done during the senior year, but discussions regarding the specifics of the project should begin early in the junior year. The project should be clearly defined by the beginning of the senior year. If a student is planning to study abroad during junior year, very careful planning must occur (in consultations with both advisors) during sophomore year.

STUDY ABOARD - All majors are encouraged to seriously consider study abroad as part of their educational experience. Dickinson's approach to financial aid and careful integration of study abroad with on-campus requirements should make such study possible in most cases. Some considerations that majors should think about:

• In most cases, the most logical first program to look at is the program co-sponsored by the arts and humanities departments in London and Norwich, England. Contact person for this program is Todd Wronski. Another program of notable merit is the Academia dell'arte, in Arezzo, Italy, with whom our program has a close working relationship. This program, which emphasizes classical commedia performance and physical theatre, is particularly appropriate for those who desire a "continental" sensibility or those who wish to work to examine the intersection of movement and traditional theatre.
• It should be noted that most study abroad programs (including the Norwich program) generally do not include studio art training in their course offerings. Therefore, theatre students should make sure they have completed directing, design, and technology before leaving for their junior year abroad (thus making it possible to take Advanced Directing upon their return).
• Students studying abroad are strongly encouraged to consider ways in which their study abroad experience could be developed into senior projects/ performance pieces upon their return to campus.

UNDERGRADUATE INTERNSHIPS - Internships provide an excellent way to experience first-hand the workings of a professional theatre and to distinguish one's credentials. Most internships are "low-paid" or "no-paid," though in most cases academic credit can be arranged. Summer internships are especially recommended (financial circumstances allowing). Of particular merit are long-standing organizations of recognizable standing in the profession (Williamstown, Utah-and other-Shakespeare Festivals, etc.; also the American Dance Festival, Jacob's Pillow Dance Festival, and others.) Deadlines for these internships are usually in January or February before the summer in question. Students interested in such opportunities should regularly check the board in the conference room, and also regularly read the listings found under "Career Development" in the bi-weekly placement publication "ARTSearch" (found on the periodicals rack).

In some compelling instances, an internship may be planned during the academic year for academic credit. This would normally occupy one semester of time and would need to be planned with your advisor and in consultation with the Registrar's Office. Early planning in such cases is absolutely essential, as internships of this type need to be closely coordinated with the rest of the student's academic coursework.

DOMESTIC OFF-CAMPUS STUDY - In some cases, specialized training and/or artistic immersion which is not available on campus might be available through a domestic semester of study off-campus. The Eugene O'Neill Center in Connecticut is an example of a specialized theatre training program (of one semester's length) which is an appropriate complement to a liberal arts degree. The Trinity/La Mama program in New York is another example offering opportunities for intensive exposure to theatre and dance. Talk to your advisor if such a program seems appropriate in your case. Application to such programs is usually made one semester in advance of enrollment.

Students pursuing the Dance focus area, or the Dance & Music major, are encouraged to attend an intensive summer program, such as the American Dance Festival. In some cases, students may receive academic credit for this experience, and some financial assistance may be available. See the Director of Dance for more information.

 

SUMMER PROFESIONAL WORK - Students wishing to prepare themselves for careers in professional theatre should consider auditioning and/or applying for employment through the regional auditions held by SETC (Southeast Theatre Conference), NETC (Northeast Theatre Conference) and Straswhat Auditions (held annually in New York). Numerous non-union employment opportunities with summer theatres, theme parks and outdoor dramas are filled through these auditions, which are held from December through March. Talk to your advisor early about these programs.

 

APPROACHES TO LEARNING

 

Your college academic program is made up of courses outside the discipline and courses within the discipline. The performing arts are unique in the degree to which they both demand and reward discipline. This is not arbitrarily determined; the collaborative nature of performance makes it essential that people working in the field share a commonly held vocabulary and approach to the work. Any performing arts organization that tolerates an undisciplined approach is not an organization worthy of your time, talents and energy. Our department insists that those who have chosen to seriously study within the discipline develop habits and approaches to work that are respectable and consistent with theatre and dance practice and study elsewhere. When you are encouraged to be more rigorous in your approach to study, remember: we try to be as rigorous as possible because we want you to succeed.

A CLARIFICATION REGARDING "DISCIPLINE " - Many of us view the word "discipline" negatively or with mistrust. It is commonly used to refer to that which we must not do. The disciplines of theatre and dance don't work that way. You are encouraged to view the development of personal discipline as the development of an approach which you must use. Discipline is a positive concept, and is developed in large measure from the practical necessities of getting a job done in the most effective way possible. Disciplines are essentially recipes for quality: they constitute a systematized approach which time has proven to be effective, whether the goal is attainment of knowledge and skills, or the production of quality art. People who know what they love and what they must do practice a discipline.

Here are some specific recommendations concerning your approach to academic coursework:

• Be prepared for class
• Attend class

They seem simple-indeed they are-but if applied consistently you will be amazed at how much more enjoyable your classes become and the degree to which unpleasant "cramming" and "all-nighters" become less necessary. Discussing something about which you are informed for fifty minutes is fun; fifty minutes of hoping you don't get called on is not fun. Staying up all night hoping you can pass a test is not fun; writing an exam on a subject you've kept up with is considerably less unpleasant.

These two simple disciplines may seem practically impossible, but they're not; they don't take much more time overall than the "all-nighter" approach to papers and exams. The key consideration is that they make your learning more enjoyable.

GRADING AND RECOMMENDATIONS - Our departmental faculty cares about our students. As explained above, that is why we feel we have no choice but to insist on quality work. The faculty are also dedicated to their respective disciplines, and it is their job to teach them to each successive generation of students. Faculty are required to give their appraisal regarding students' proficiency in the discipline when assigning grades and when writing references and recommendations. To give an outstanding grade or a very positive recommendation to a student who has not developed or displayed an appropriate approach to the discipline is dishonest. We can't do it.

On the other hand, it is a pleasure for faculty members to write on behalf of a student who has developed a consistent and respectable approach to the discipline of artistic creation.