2010-11 Undergraduate Index A-Z
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Theater [clear]
| Title | Offering | Standing | Credits | Credits | When | F | W | S | Su | Description | Preparatory | Faculty | Days of Week | Multiple Standings | Start Quarters |
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Arts in New York
Ariel Goldberger architecture art history dance music theater visual arts Signature Required: Spring |
Program | FR - SRFreshmen - Senior | 16 | 16 | Day | SSpring | The program will immerse students in studying the intense and lively cultural life of New York City, the most active arts production center in the United States, and perhaps the world. Classes will meet weekly in different cultural institutions to participate in art events as active audience members, to develop an educated and critical appreciation of the richness, complexity and current trends of artistic production in New York. The class will spend two weeks on campus doing preparatory research in areas of the student's interest in order to create the structure for an individual project or practicum. Students may choose to create a project by engaging in artistic work, research, or both. Students will be responsible for making all necessary arrangements for room and board, as well as budgeting for individual event tickets. All students will be expected to present a final report of their experience and project by week ten in Olympia, unless specifically negotiated in advance with the faculty. After the initial two weeks research and preparation, participants in the program will fly to New York City for six or seven weeks, where they will engage in group and individual activities, depending on each student practicum or project. Students will attend a mix of both all-program events and events related to each student's project. The class will attend events in a wide range of sites, from established world renowned institutions to emergent art spaces. Depending on the season, performance events may include events in places such as PS 122, La MAMA, The Kitchen, HERE Art Center, off-off-Broadway small theaters, the Brooklyn Academy of Music, Broadway productions, and Lincoln Center. Regular dance events may include modern dance performances, experimental works, festivals at the Joyce Theater, and more traditional ballet events in venues such as the New York City Ballet. Specific visual arts events may consist of trips to the gallery "scene" in Chelsea, PS1, MOMA, DIA Arts Center, The Met, under the radar spaces, and other sites. We may attend poetry readings at places such as The Bowery Poetry Club, the Nuyorican Poets Cafe, The St. Marks Poetry Project, The Academy of American Poets, The New York Public Library, other spaces. The class will also endeavor to attend other culturally relevant institutions such as the Japan Society, the Asia Society, The Jewish Museum, The Schomburg Center, The Dwyer Cultural Center and El Museo del Barrio to experience a wide range of cultural diversity. Most weekly group activities will be followed by a discussion or seminar. The final week of the quarter will be spent back on campus in Olympia, completing final report presentations for the whole class. | humanities, cultural studies, arts, social sciences, and the leisure and tourism industry. | Ariel Goldberger | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | ||||
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The Authentic Self: Becoming an Instrument of Change
Marcella Benson-Quaziena and Marla Elliott |
Program | JR - SRJunior - Senior | 8 | 08 | Weekend | FFall | WWinter | You are the most powerful and versatile tool you have. Do you know who are you and what you stand for? Is that who you want to be? How can you use your presence as an instrument of change? How do you know what you evoke/provoke in others? How do you move in the world with awareness of your authentic self? The ability to communicate and influence is crucial to our effectiveness as we move through many systems. This program is designed for students who want to develop skills of self-knowledge and "use of self" as an instrument of social change. | psychology, performing arts, and communications. | Marcella Benson-Quaziena Marla Elliott | Junior JR Senior SR | Fall | |||
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Collaborative Autobiographics: Interrogating Representations of Self and Other in Media, Writing and Storytelling
Naima Lowe, Joye Hardiman and Marilyn Freeman |
Program | FR - SRFreshmen - Senior | 16 | 16 | Day | SSpring | How do we reconcile the needs and voice of the individual with the greater good of the group? How can a focus on collectivism lead us to greater individual understanding? How can we create collaborative art projects that combine strong individual voice with a collective sense of identity, and how do we do that with integrity and respect for one’s self, others and the creative work? This program is an interdisciplinary arts practice program that explores the complexities of telling personal stories across various mediums and within the context of the collaborative process. The purpose of the program is to explore cross-cultural and cross- disciplinary approaches to autobiography, to investigate the role of collectivism and collaboration in autobiographical storytelling, and to develop analytical and practical skills related to media, creative non-fiction literature and writing, and performance. The program will have four major components: Through collaborative work and through experiments intersecting creative nonfiction writing, electronic media, and performance, this program will explore the complex or multiple elements of identity and truth drawn upon or discovered in acts of self-representation. This interdisciplinary arts program emphasizes collaborative learning and the importance of working generatively in an increasing diverse world. Students should come ready to take creative risks, to work hard, to work respectfully, and to practice initiative while serving the greater good of the program. If you’re a divergent thinker looking for opportunities to explore the possibilities of collaborative creative production, this is absolutely the program for you . | writing, media studies, and the arts. | Naima Lowe Joye Hardiman Marilyn Freeman | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | |||
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Dionysia: Enlivening Greek Theater
Rose Jang and Andrew Reece Signature Required: Spring |
Program | SO - SRSophomore - Senior | 16 | 16 | Day | WWinter | SSpring | Twenty-five centuries ago, in Athens, Greeks would gather excitedly at dramatic festivals honoring their gods and introducing the latest productions by their tragic and comic poets. The theater was for these Greeks a spectacle, a rite, a source of wisdom. It helped them figure out who they were: it showed them situated precariously between civilization and savagery, between the bestial and the divine, between the sublime and the ridiculous. In tragedy, Greeks relived their aspirations for nobility and justice and their despair at their all too human fragility. In comedy, they laughed at their politicians, their gods, even the playwrights themselves. In ancient comedy, nothing was sacred, perhaps because everything was. Twenty-five centuries later, on the other side of the world, Aeschylus, Sophocles, Euripides and Aristophanes still invite us to answer the call of Dionysus, to gather round the stage and to join our stories with those of Orestes, Oedipus, Phaedra, and even Athenian war widows of the fifth century BCE. In his festivals, the Dionysia, the god taught Greeks to see themselves more clearly by standing outside themselves, whether on stage or in the audience. In the schools since then, the poetry of the plays continues to illuminate; the centuries have scarcely dimmed or softened the harsh light to which, and by which, we are exposed by theater’s first masters. At the same time, that poetry has too often been left on the page, while the poets meant it to be spoken and sung. In this program, we intend to study Greek drama but also to perform it, to understand it and to enliven it. In winter quarter, we will read and interpret selected works of the three ancient Greek tragedians, and their one contemporary comedian, who are represented by plays that survive in their entirety. These will include, among others, Aeschylus’ Oresteia trilogy; Sophocles’ and ; Euripides’ , , and ; and Aristophanes’ . Students will also learn about the history of Athenian drama. We will write extensively about the texts and discuss them in seminar. Students will also begin to learn to act, to use their voices and bodies to interpret the characters and embody the poetry. In spring quarter, we will devote ourselves to full-scale productions of one tragedy and one comedy. During both quarters, we will view and discuss local theater performances as the opportunities arise. | ancient Greek tragedy and comedy, acting, play production, theater, literature, and other studies and careers demanding good written and oral communication skills. | Rose Jang Andrew Reece | Sophomore SO Junior JR Senior SR | Winter | |||
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Experiments in Theatre and Dance
Walter Grodzik and Robert Esposito aesthetics art history consciousness studies cultural studies dance linguistics literature somatic studies theater Signature Required: Spring |
Program | FR - SRFreshmen - Senior | 16 | 16 | Day | WWinter | SSpring | How do literal and non-representational gestures combine to create a unique poetics of action? How are emotions and ideas rendered in movement? How does the abstract design of space, time and motion support or subvert the spoken word? This two-quarter program will engage students in an active exploration of theater, movement and modern dance. Winter quarter will be devoted to building competency in separate modern dance and theater workshops, with two collaborative performance projects aimed at developing a final concert project in spring quarter. Students will continue building performance and collaborative skills through theater, movement and dance workshops, improvisation and composition in spring quarter. We will explore how verbal and non-verbal performance works contextualize and enhance each other by reading and analyzing various texts on theatre and dance. We will explore theories of dance theatre through structured solo and group improvisation, by creating original compositions, and in seminar discussions. Spring quarter will culminate in a public, collaborative concert. : Theater emphasis-20083 (Freshmen), 20084 (Sophomores-Seniors) Dance emphasis-20366 (Freshmen), 20367 (Sophomores-Seniors) | theatre, dance, and the performing arts. | Walter Grodzik Robert Esposito | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | |||
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Improvisational Acting
Paul Wickline |
Course | FR - SRFreshmen - Senior | 4 | 04 | Day | SuSummer | Students will learn the history, evolution, and craft of improvisational acting to foster team building, develop spontaneity, sharpen concentration, increase listening skills, solve problems, recognize and develop basic elements of storytelling, and stretch creative imagination. The focus is on taking risks and exploring moment to moment, allowing the student to overcome inhibitions in a supportive, creatively-stimulating environment that emphasizes process rather than performance. | education, acting, directing, dance, performance | Paul Wickline | Mon Wed | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | |||
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Individual Study: Interdisciplinary Projects, Arts, Consciousness Studies and Humanities
Ariel Goldberger aesthetics anthropology architecture art history classics communications community studies consciousness studies cultural studies field studies gender and women's studies geography international studies language studies leadership studies literature music outdoor leadership and education philosophy psychology queer studies religious studies sociology somatic studies theater visual arts writing Signature Required: Winter |
Contract | SO - SRSophomore - Senior | 16 | 16 | Day | WWinter | Individual study offers students the opportunity to develop self-direction, to learn how to manage a personal project, to focus on unqiue combinations of subjects, and to pursue original interdisciplinary projects without the constraints of an external structure. Students interested in a self-directed project, research or internship in the humanities, or projects that include arts, travel, or interdisciplinary pursuits are invited to present a proposal to Ariel Goldberger. Students with a lively sense of self-direction, discipline, and intellectual curiosity are strongly encouraged to apply. Ariel Goldberger supports interdisciplinary studies and projects in the Arts, Humanities, Consciousness Studies, and travel. | humanities, arts, social sciences, and consciousness studies. | Ariel Goldberger | Sophomore SO Junior JR Senior SR | Winter | ||||
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Individual Study: Interdisciplinary Projects, Arts, Consciousness Studies and Humanities
Ariel Goldberger aesthetics anthropology architecture art history classics communications community studies consciousness studies cultural studies field studies gender and women's studies geography international studies language studies leadership studies literature music outdoor leadership and education philosophy psychology queer studies religious studies sociology somatic studies theater visual arts writing Signature Required: Spring |
Contract | SO - SRSophomore - Senior | 16 | 16 | Day | SSpring | Individual study offers students the opportunity to develop self-direction, to learn how to manage a personal project, to focus on unqiue combinations of subjects, and to pursue original interdisciplinary projects without the constraints of an external structure. Students interested in a self-directed project, research or internship in the humanities, or projects that include arts, travel, or interdisciplinary pursuits are invited to present a proposal to Ariel Goldberger. Students with a lively sense of self-direction, discipline, and intellectual curiosity are strongly encouraged to apply. Ariel Goldberger supports interdisciplinary studies and projects in the arts, humanities, consciousness studies, and travel. | humanities, arts, social sciences, and consciousness studies. | Ariel Goldberger | Sophomore SO Junior JR Senior SR | Spring | ||||
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Individual Study: Interdisciplinary Projects, Arts, Consciousness Studies and Humanities
Ariel Goldberger aesthetics anthropology architecture art history classics communications community studies consciousness studies cultural studies field studies gender and women's studies geography international studies language studies leadership studies literature music outdoor leadership and education philosophy psychology queer studies religious studies sociology somatic studies theater visual arts writing Signature Required: Fall |
Contract | SO - SRSophomore - Senior | 16 | 16 | Day | FFall | Individual study offers students the opportunity to develop self-direction, to learn how to manage a personal project, to focus on unqiue combinations of subjects, and to pursue original interdisciplinary projects without the constraints of an external structure. Students interested in a self-directed project, research or internship in the humanities, or projects that include arts, travel, or interdisciplinary pursuits are invited to present a proposal to Ariel Goldberger.Students with a lively sense of self-direction, discipline, and intellectual curiosity are strongly encouraged to apply.Ariel Goldberger supports projects in the Arts, Humanities, Consciousness Studies, Arts, and interdisciplinary studies. | humanities, arts, social sciences, and consciousness studies. | Ariel Goldberger | Sophomore SO Junior JR Senior SR | Fall | ||||
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Making Dances: Creative Process in Motion
Robert Esposito aesthetics art history consciousness studies dance linguistics physiology somatic studies theater |
Program | FR - SRFreshmen - Senior | 16 | 16 | Day | FFall | This focused one-quarter program centers on progressive study in Laban-based modern dance composition/choreography. Activities include technique, theory/improvisation/seminar, and composition classes. Technique is based in basic anatomy and principles of dance kinesiology, not style, period or ethnicity. Students learn how to make dances from their own sensory, emotional, cognitive, and behavioral experience by developing skills in modern dance technique, theory/improvisation, composition, performance, and critical analysis. This multidimensional approach to creative dance develops a kinesthetic vocabulary drawing on linguistics, poetics, architecture, visual arts, art history, anatomy, and choreography. The course includes units on diet, injury prevention, and somatic therapy. Strength, range, poise, and depth are developed though Pilates-based floor barre and Hanna/Feldenkrais-based Somatics. Seminar will focus on building verbal and non-verbal skills aimed at critical analysis of the history of art, choreography, and their socio-cultural contexts. Writing will focus on the development of a journal using action language, visual art, and poetics. The program culminates with a Week Ten concert of student and faculty and/or guest choreography. | criticism, dance, expressive arts, movement therapy, and somatic studies. | Robert Esposito | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | ||||
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Music and Movement in Nature and Culture
Andrew Buchman, Kabby Mitchell and Sean Williams |
Program | SO - SRSophomore - Senior | 16 | 16 | Day | FFall | WWinter | SSpring | This performing arts program explores societal concepts, artistic behaviors, and reactions to music and dance in cultural and physical contexts. Themes include the exploration of music and dance in relation to the natural world, and the intersections of music and dance with gender, spirituality, urbanization and social change. After establishing a firm base of concepts, skills and approaches together in the fall, we will emphasize thematic and/or regional work and individual or small group projects during the winter term. Spring quarter offers the opportunity for students to engage in individual fieldwork studies with performing artists off campus. With some serious preparatory reading and listening, students may join the group in winter on a space-available basis, but not in spring. A deep interest in music and/or dance is expected, and prior study, formal or informal, will help. Students will be expected to do significant reading, writing and study of musical texts and choreography—especially field recordings, videos and ethnographies. Knowing how to read music will help you; if you do not, we will teach you. We will engage in critical listening and viewing (analyses of what we hear and watch), and transcription—simple, quick ways to write music and dance movements down so that you can look at them in different ways. Those with previous training will do work at their level, but such training is not expected. If you're a serious student, you will do well in this program. Other activities are likely to include choreography, composition, field trips, instrument building, research projects, papers and presentations. If funds are available, we will have workshops by visiting artists. We will have periodic performances and critiques of work by students in the program. Expect to work hard on developing your performance skills in a musical instrument or dance genre, practice regularly and perform. The goal of this study is not necessarily a performing career, but rather the development of insights into the performing arts that only hands-on, experiential work can provide. We cannot subsidize private lessons, but we will provide a steady, challenging and safe forum for performance, critique, and creative and intellectual growth. | anthropology, cultural studies, dance, ethnomusicology, and music. | Andrew Buchman Kabby Mitchell Sean Williams | Sophomore SO Junior JR Senior SR | Fall | ||
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Play On! The Theatre of Sport
Mark Harrison |
Program | FR - SRFreshmen - Senior | 8 | 08 | Evening and Weekend | FFall | "Sport is theatre, and through it we can see the human condition cut to the bone. Sport has pace and stillness, drama, comedy, and tragedy. It conveys more vividly than any other branch of everyday human activity the elation and despair in every person's emotional range." --Sebastian Coe, Olympic gold medalist and former Member of Parliament Theatre and sport embody an ideal of meaningful action. As players, we engage in spectacles of play, utilizing formal and complex actions governed by rules (or conventions), rituals and aesthetics, both ancient and modern. As audiences, we derive meaning through winning and losing; we construct narratives and project values onto players and play. Through conflict, competition, and collaboration, theatre and sport reflect our deepest individual and cultural identities and desires. Participants in this program will examine the human condition “cut to the bone” and be challenged to re-conceptualize the way we experience and think about performance. We will focus on the role of imagination and the significance of competition, conflict, and collaboration. We will examine sport and theatre as a moral stage and a reflection of culture. Topics will include: the history of performance, psychology of play and playing, constructions time and space, basic quantitative methods, and the intersections of aesthetics and technique. We will also consider the ways we mediate performance (through film, television, and other media) to generate excitement, meaning, and profits. Expect to engage through readings, films, discussions, weekly writing assignments, and independent and collaborative work. Active learning in the form of workshops and field trips to sporting events and performances will be a central focus of the program. | performance studies, teaching, coaching, sports administration, and sociology of sport. | Mark Harrison | Wed Sat | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | |||
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Poetics and Performance
Ariel Goldberger and Leonard Schwartz |
Program | FR - SRFreshmen - Senior | 16 | 16 | Day | FFall | WWinter | This program will explore of the disciplines of poetics, experimental puppet theater, and performance. How do words, light, sound and bodies interact? Is there a way to use words which does not weaken the use of the other senses, but allows one to discover shadows of sound and rustlings of vision in language? Are there ways of using text in visually based performance that do not take for granted the primacy of text? Students will be required to complete reading, writing and artistic projects towards these ends. The poetry and theater writing of Antonin Artaud will be central to our work.Faculty members will support student work by offering workshop components in poetry, puppet theater and movement. Students will produce weekly projects that combine and explore the relationship of puppet theater and poetry in experimental modes. Readings might include the works of such authors as Artaud, Tadeusz Kantor, Richard Foreman, Susan Sontag, Kamau Brathwaite, Hannah Arendt and Maurice Merleau-Ponty. Student work and progress will be presented weekly in all-program critique sessions. | poetics, performance, puppetry and creative writing. | Ariel Goldberger Leonard Schwartz | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | |||
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Student Originated Studies: Travel-Based Education
Ariel Goldberger business and management consciousness studies cultural studies field studies geography history language studies maritime studies outdoor leadership and education religious studies somatic studies theater visual arts writing Signature Required: Fall |
SOS | SO - SRSophomore - Senior | 16 | 16 | Day | FFall | This SOS is for students seriously interested in study-related or research projects involving an individually designed journey or travel. There is a long and revered tradition of humans embarking on journeys for the purpose of learning to develop self-awareness, get to know the world outside of what is familiar, engage in a spiritual quest, or expand the student's sense of what is possible. Travel has been a powerful academic, experiential and research component in the life of many scholars, artists, writers, mystics, and scientists. For thousands of years, humans have developed intercultural awareness, valuable communication skills, resourcefulness, spiritual awareness, cultural understanding, and a sense of the relativity of their personal views by engaging in it. Travel can be deeply transformative. This program is an educational offering designed for self-directed students who desire to benefit from engaging in educational travel as part of their learning at Evergreen. Students interested in registering must have a project in mind that requires travel as a central component of their learning. Individual projects should involve or prepare for some form travel for the purpose of learning, research, interdisciplinary studies, writing, volunteering, learning languages, studying historical events at their source, studying spiritual quests, understanding or studying other cultures, learning about a culturally relevant artifact or artistic expression at its source, developing a career in the leisure or tourism industry, or any combination thereof. Serious, self-directed, and responsible students are encouraged to register. Students will spend the first one or two weeks finishing intensive preparatory research on their specific destinations, to acquaint themselves the historical and cultural context of their place of destination, understand cultural norms, and study any relevant legal issues. Participants will prepare plans to be ready for emergencies or eventualities as well, as each student might have a different project and the faculty will remain as a resource for all participants. Students will be responsible for making all necessary arrangements for their travel, room and board, as well as budgeting for individual expenses related to their projects. Once the initial one or two weeks of preparation are completed, participants in the program will embark on their travel-related practicum or project, and report regularly to the faculty using a procedure negotiated in advance. Participants will be required to document their experience effectively in order to produce a final report. Participants will return to Olympia by week 10 to present the final report of their experience and project to the class at the Olympia campus, unless specifically arranged in advance with the faculty by week two. Please Note: This program is not a Study Abroad academic offering. Students interested in Study Abroad should work on an Independent Learning Contract with Ariel Goldberger separately, or pursue offerings listed in the corresponding section of the catalog. Those students who have demonstrated academic progress and who have projects that take more than a quarter are advised to negotiate an ILC with professor Goldberger to accomodate their learning needs. | humanities, cultural studies, arts, social sciences, and the leisure and tourism industry. | Ariel Goldberger | Sophomore SO Junior JR Senior SR | Fall | ||||
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Teaching Through Performance: American Radical History
Arun Chandra aesthetics history music theater Signature Required: Fall |
Program | SO - SRSophomore - Senior | 16 | 16 | Day | FFall | WWinter | There are many important events in American History that never make it into our history textbooks or are only mentioned in passing, thus remaining hidden from students in many high-school history classes. In this program, we will study these hidden histories, create performances of theater and music about them, and, if possible, perform them for local high-school history classes as an alternative method of teaching about historical events. Each quarter will be divided into three parts. First, we will research hidden histories, such as Margaret Sanger and the legalization of birth control; Jane Addams and the Women's Peace movement; William Z. Foster and the American Communist Party; the trials of Sacco and Vanzetti, Julius and Ethel Rosenberg, and the Chicago Seven; the 1919 general strike in Seattle; FDR's "Economic Bill of Rights"; and American involvement in overthrowing the democratically elected Chilean government. Second, we will compose scripts and music for short performances about these histories. Finally, we will rehearse and perform these events. If possible, we will perform in high schools in the local area. Each quarter, students will be expected to write a short paper about their historical research, write the scripts and music and help present the performances. Alongside the historical work of American political and social history, we will be reading plays and viewing operas from the 19th and 20th centuries that address and depict social problems. Some of the writers and composers we will examine include Bertolt Brecht, Bernard Shaw, Frank Wedekind, Alban Berg, Giuseppi Verdi, Ludwig van Beethoven, and W. A. Mozart. Each quarter will have its own cycle of research, composition and performance. New students can join the program in winter quarter on a space-available basis. | 19th- and 20th-century American history, music composition, creative writing, teaching, and performance. | Arun Chandra | Sophomore SO Junior JR Senior SR | Fall | |||
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Theatre Intensive: Theatre Production
Walter Grodzik language studies literature media studies somatic studies theater visual arts Signature Required: Fall |
Program | SO - SRSophomore - Senior | 16 | 16 | Day | FFall | This program will consist of performance studies leading to a theatrical production. This may be a full-length play, a one-act play festival, or a sketch comedy/improvisation show as determined by the faculty. Students will experience training in acting, directing, movement, and vocal techniques in order to utilize these skills in the final performance. Drawing upon the interdisciplinary nature of theatre, this program may involve acting in a play, dramaturgical work, assistant directing, stage management, set, costume, lighting and sound design, set and costume construction, publicity, and all the other areas related to successful play production. For example, after auditioning, a student will spend about half to three quarters of program time in rehearsal, and the rest of the time working in the shop building the set or on some other aspect of the production. A student presenting a technical portfolio could become part of the technical/design team for the show, as well as the publicity coordinator. In short, every student will participate in more than one area of the production process. The first seven to eight weeks of the program will be spent in rehearsal culminating in final performance. In addition to rehearsals and production work, students will examine dramaturgical matters in seminar, closely related to the production. These may include readings addressing the social, political, economic, and cultural environment of the performance. All students who are interested in interviewing/auditioning for the program should contact Professor Grodzik directly. While this program is designated sophomore and above, interested freshmen are encouraged to apply. | the performing arts, technical theatre, dramaturgy, acting, directing, theatrical design, stage management, costuming, lighting, sound, publicity, theatre history, creitical theory, and dramatic literature. | Walter Grodzik | Sophomore SO Junior JR Senior SR | Fall | ||||
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The Voice of Reason: Persuasion as Performance
Lori Blewett and Marla Elliott |
Program | FR - SRFreshmen - Senior | 8 | 08 | Evening and Weekend | SSpring | Effective persuasion relies on more than good arguments. This class will incorporate the art of reasoning with the skills of oral performance. We will investigate the ways we influence each other and consider alternative models of ethical discourse. Students will construct, deliver, and analyze persuasive speech performances. Opportunities will be available to produce work using the TESC television recording studio. | acting, communications, law, politics, public speaking, rhetoric, and voice and body use. | Lori Blewett Marla Elliott | Wed Sat | Freshmen FR Sophomore SO Junior JR Senior SR | Spring |