School of Drama
2001
–
2002
bulletin of yale university
Series 97 Number 12 August 30, 2001
Bulletin of Yale University
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written permission from Yale University.
School of Drama
2001
–
2002
bulletin of yale university
Series 97 Number 12 August 30, 2001
Contents
Calendar 5
President and Fellows of Yale University 6
Officers of Yale University 6
Administration and Faculty 7
History and Facilities 11
History of the School 11
Facilities 11
Instruction and Performance Venues
Digital Media Center for the Arts
Drama Library
Degrees 13
Living at the School of Drama 14
Priorities 14
Attendance 14
Understudy Responsibilities 14
Departmental Assignments 15
Rehearsals 15
Mandatory Work Requirements 16
Outside Employment 16
Vacations and Touring 16
Course Standards and Requirements 16
Registration 17
Drama Requirement 17
Evaluations and Grading 17
Leave of Absence and Withdrawal 19
Transcripts 19
Dossier Service 19
Privacy of Student Records 19
School of Drama Student Government 20
Sexual Harassment 20
Grievances 20
Living at Yale University 21
Cultural, Religious, and Athletic Facilities 21
Office of International Students and Scholars 23
Health Services for School of Drama Students 24
Resource Office on Disabilities 27
Departmental Requirements and Courses of Instruction 28
Acting 28
Directing 29
Design 32
Sound Design 36
Dramaturgy and Dramatic Criticism 40
Playwriting 52
Technical Design and Production 57
Technical Internship Program 63
Theater Management 64
Stage Management 69
Special Student Status 72
Special Research Fellow Status 73
Tuition and General Expenses 74
Financial Aid Policy 78
Fellowships and Scholarships 83
Prizes 85
Enrollment 2001–2002 87
The Work of Yale University 91
4 School of Drama
Calendar*
fall 2001
Sept. 4 Tues. First-year registration.
Sept. 5 Wed. Second- and third-year registration.
Sept. 6 Thurs. Classes begin, 9 a.m.
Nov. 21 Wed. Fall recess begins, 12 midnight, for students not involved
in School or Yale Repertory Theatre productions.
Nov. 26 Mon. Fall recess ends. Classes resume, 9 a.m.
Dec. 15 Sat. Classes end. Work period begins, 12 midnight.
Dec. 22 Sat. Work period ends and winter recess begins,
12 midnight, for students not involved in School
or Yale Repertory Theatre productions.
spring 2002
Jan. 7 Mon. Winter recess ends. Work period begins, 9 a.m.
Registration for all students.
Jan. 14 Mon. Work period ends. Classes begin, 9 a.m.
March 9 Sat. Spring recess begins, 12 midnight, for students not involved
in School or Yale Repertory Theatre productions.
March 18 Mon. Spring recess ends. Work period begins, 9 a.m.
March 25 Mon. Work period ends. Classes resume, 9 a.m.
May 11 Sat. Classes end. Work period begins, 12 midnight.
May 19 Sun. Work period ends, 12 midnight.
May 27 Mon. University Commencement.
* For students who are obliged by their curricula to work at the Yale Repertory Theatre or in School of Drama
productions, vacations will be subject to the production schedules.
The President and Fellows of Yale University
President
Richard Charles Levin, b.a., b.litt., ph.d.
Fellows
His Excellency the Governor of Connecticut, ex officio.
Her Honor the Lieutenant Governor of Connecticut, ex officio.
George Leonard Baker, Jr., b.a., m.b.a., Palo Alto, California.
Roland Whitney Betts, b.a., j.d., New York, New York (June 2005).
Benjamin Solomon Carson, Sr., b.a., m.d., West Friendship, Maryland (June 2003).
Gerhard Casper, ll.m., ph.d., Atherton, California.
Susan Crown, b.a., m.a., Chicago, Illinois.
Charles Daniel Ellis, b.a., m.b.a., ph.d., Greenwich, Connecticut.
David Richmond Gergen, b.a., ll.b., McLean, Virginia (June 2002).
Holcombe Turner Green, Jr., b.a., ll.b., Atlanta, Georgia.
Linda Anne Mason, b.a., m.b.a., Belmont, Massachusetts (June 2004).
The Rt. Rev. Victoria Matthews, b.a., m.div., Edmonton, Alberta, Canada.
Barrington Daniel Parker, Jr., b.a., ll.b., Stamford, Connecticut.
John Ennis Pepper, Jr., b.a., m.a., Cincinnati, Ohio.
Kurt Lidell Schmoke, b.a., j.d., Baltimore, Maryland.
Theodore Ping Shen, b.a., m.b.a., Brooklyn, New York (June 2007).
Janet Louise Yellen, b.a., ph.d., Berkeley, California (June 2006).
The Officers of Yale University
President
Richard Charles Levin, b.a., b.litt., ph.d.
Provost
Alison Fettes Richard, m.a., ph.d.
Vice President and Secretary
Linda Koch Lorimer, b.a., j.d.
Vice President and General Counsel
Dorothy Kathryn Robinson, b.a., j.d.
Vice President for Development
Charles James Pagnam, b.a.
Vice President and Director of New Haven and State Affairs
Bruce Donald Alexander, b.a., j.d.
Vice President for Finance and Administration
Robert Loren Culver, b.a., m.a., m.p.a.
School of Drama/Repertory Theatre
Administration and Faculty
Administration
Richard Charles Levin, b.a., b.litt., ph.d., President of the University.
Alison Fettes Richard, m.a., ph.d., Provost of the University.
Stan Wojewodski, Jr., m.f.a., Dean of the School of Drama and Artistic Director of Yale
Repertory Theatre.
Benjamin Mordecai, m.a., Associate Dean for Administration.
Victoria Nolan, b.a., Managing Director.
Mark Bly, m.f.a., Associate Artistic Director of Yale Repertory Theatre.
Susan Rochette, b.a., Financial Aid Officer.
Maria Leveton, b.s., Registrar.
Emeriti
Richard Gilman, b.a., Professor Emeritus of Dramaturgy and Dramatic Criticism.
George Charles Izenour, d.f.a., Professor Emeritus of Theater Design and Technology.
Leon Katz, ph.d., Professor Emeritus of Dramaturgy and Dramatic Criticism.
Lloyd Richards, b.a., l.h.d., Professor Emeritus of Drama.
William Warfel, m.f.a., Professor Emeritus of Theater Design.
Faculty
Chuck Adomanis, a.b., Visiting Lecturer in Technical Design and Production.
Christopher Bayes, Visiting Lecturer in Acting.
Todd Berling, m.f.a., Visiting Lecturer in Technical Design and Production.
Christopher Blair, m.s., Visiting Lecturer in Technical Design and Production.
Jeffrey Blesdoe, m.f.a., Visiting Lecturer in Theater Management.
Mark Bly, m.f.a., Professor (Adjunct) of Playwriting.
* John Boyd, m.f.a., Visiting Lecturer in Technical Design and Production.
David Budries, Lecturer in Sound Design.
David Chambers, m.f.a., Professor (Adjunct) of Acting and Directing.
Joan Channick, j.d., Visiting Lecturer in Theater Management.
Constance Congdon, m.f.a., Visiting Lecturer in Playwriting.
Nancy Coyne, b.a., Visiting Lecturer in Theater Management.
Kate Davy, ph.d., Visiting Lecturer in Dramaturgy and Dramatic Criticism.
Liz Diamond, m.f.a., Associate Professor (Adjunct) of Directing.
Diane DiVita, m.f.a., Visiting Lecturer in Stage Management.
Alan Eisenberg, Visiting Professor of Theater Management.
Jacqueline Farrington, m.f.a., Visiting Lecturer in Acting.
Wesley Fata, Professor (Adjunct) of Acting.
Catherine Fitzmaurice, m.a., Visiting Lecturer in Acting.
* On leave of absence, 2001–2002.
Elinor Fuchs, ph.d., Professor (Adjunct) of Dramaturgy and Dramatic Criticism.
Jess Goldstein, m.f.a., Assistant Professor (Adjunct) of Design.
Jane Greenwood, Professor (Adjunct) of Design.
Barry Grove, m.a., Visiting Lecturer in Theater Management.
Barbara Groves, Visiting Lecturer in Theater Management.
Andrew Hamingson, Visiting Lecturer in Theater Management.
Andrea Haring, b.a., Visiting Lecturer in Acting.
Frank Hartenstein, Visiting Lecturer in Stage Management.
Don A. Harvey, m.f.a., Professor (Adjunct) of Technical Design and Production.
Alan Hendrickson, m.f.a., Professor (Adjunct) of Technical Design and Production.
Robin Hirsch, b.f.a., Lecturer in Technical Design and Production.
Mark Hough, m.f.a., Visiting Lecturer in Theater Management.
Mary Hunter, Associate Professor (Adjunct) of Stage Management.
* John Huntington, m.f.a., Visiting Lecturer in Technical Design and Production.
Peter Francis James, m.a., Visiting Lecturer in Acting.
Jeffrey Jones, b.a., Visiting Lecturer in Playwriting.
Rik Kaye, m.f.a., Visiting Lecturer in Technical Design and Production.
Anne Keefe, Visiting Lecturer in Stage Management.
Ming Cho Lee, b.a., l.h.d., Donald M. Oenslager Professor (Adjunct) of Design.
* Eugene Leitermann, m.f.a., Visiting Lecturer in Technical Design and Production.
James Leverett, m.a., Associate Professor (Adjunct) of Dramaturgy and Dramatic Criticism.
James Magruder, d.f.a., Visiting Lecturer in Dramaturgy and Dramatic Criticism.
Ruth Margraff, m.f.a., Visiting Lecturer in Playwriting.
Edward Martenson, a.b., Visiting Lecturer in Theater Management.
Tom McAlister, Associate Professor (Adjunct) of Technical Design and Production.
Beth McGuire, m.f.a., Visiting Lecturer in Acting.
Robert Miller, m.f.a., Lecturer in Technical Design and Production.
Roxanne Moffitt, b.a., Assistant Professor (Adjunct) of Theater Management.
Benjamin Mordecai, m.a., Professor (Adjunct) of Theater Management.
Neil Mulligan, m.f.a., Lecturer in Technical Design and Production.
Erika Munk, b.a., Associate Professor (Adjunct) of Dramaturgy and Dramatic Criticism.
Victoria Nolan, b.a., Professor (Adjunct) of Theater Management.
Lynn Nottage, m.f.a., Visiting Lecturer in Playwriting.
Eric Overmyer, b.a., Visiting Associate Professor of Playwriting.
Karen Quisenberry, m.f.a., Assistant Professor (Adjunct) of Stage Management.
William J. Reynolds, m.f.a., Lecturer in Technical Design and Production.
Marc Robinson, d.f.a., Associate Professor (Adjunct) of Dramaturgy and Dramatic Criticism.
Randy Rode, m.s., Lecturer in Theater Management.
Gordon Rogoff, b.a., Professor (Adjunct) of Dramaturgy and Dramatic Criticism.
Michael Ross, Visiting Lecturer in Theater Management.
Bevya Rosten, ph.d., Visiting Lecturer in Dramaturgy and Dramatic Criticism.
Bronislaw Joseph Sammler, m.f.a., Professor (Adjunct) of Technical Design and Production.
8 School of Drama
* On leave of absence, 2001–2002.
Vicki Shaghoian, m.a., Visiting Lecturer in Actng.
Catherine Sheehy, d.f.a., Associate Professor (Adjunct) of Dramaturgy and Dramatic
Criticism.
Rick Sordelet, m.f.a., Visiting Lecturer in Acting.
Hunter Nesbitt Spence, b.f.a., Visiting Lecturer in Technical Design and Production.
Stephen Strawbridge, m.f.a., Associate Professor (Adjunct) of Design.
Jennifer Tipton, b.a., Professor (Adjunct) of Stage Lighting.
David Truskinoff, b.f.a., Visiting Lecturer in Acting.
Ru-Jun Wang, m.f.a., Assistant Professor (Adjunct) of Design.
Harry H. Weintraub, j.d., Visiting Professor of Theater Management.
Walton Wilson, b.f.a., Associate Professor (Adjunct) of Acting.
Stan Wojewodski, Jr., m.f.a., Professor of Drama.
Jessica Wolf, b.f.a., Visiting Lecturer in Acting.
Michael Yeargan, m.f.a., Associate Professor (Adjunct) of Design.
Evan Yionoulis, m.f.a., Associate Professor (Adjunct) of Acting.
Production Staff
Bronislaw Joseph Sammler, Production Supervisor.
Mary Hunter, Production Stage Manager.
Karen Quisenberry, Resident Stage Manager.
Don Harvey, Technical Director.
Neil Mulligan, Technical Director.
Alan Hendrickson, Electromechanical Laboratory Supervisor.
Tom McAlister, Costume Shop Manager.
Robin Hirsch, Associate Costume Shop Manager.
Brian Cookson, Properties Master.
David P. Schrader, Properties Craftsperson.
Don Titus, Master Electrician.
Ru-Jun Wang, Resident Scenic Artist.
Melissa McGrath, Assistant Scenic Artist.
Robert Miller, Sound Supervisor.
Eric Sparks, Shop Foreman.
Matthew Gaffney, Shop Carpenter.
Matthew Kirby-Smith, Shop Carpenter.
Peter Malbuisson, Shop Carpenter.
Dawn Yocum, Shop Carpenter.
Mary Zihal, Draper.
Daphne Board, First Hand.
Nikki Fazzone, First Hand.
Janet Cunningham, Stage Carpenter.
Tiffany Hopkins, Properties Runner.
Kristine Eckerman, Sound Operator.
Faculty 9
Administrative Staff
Katherine D. Burgueño, Business Manager.
Teri Tuma, Director of Development and Alumni Affairs.
Roxanne Moffitt, Director of Marketing.
Bil Schroeder, Media Relations Manager.
Hyla Crane, Education and New Audience Specialist.
Sylvia Traeger, Audience Services Director.
Williams J. Reynolds, Operations Manager.
Randy Rode, Information Technology Director.
Pamela C. Jordan, Librarian.
Donna Marie Fusco, Assistant to the Dean.
Claire S. Shindler, Senior Administrative Assistant to the Managing Director and
Associate Dean for Administration.
Ellen Lange, Administrative Assistant to the Registrar.
Marcia Isaacs, Senior Administrative Assistant to the Financial Aid Officer.
Denise Zaczek, Assistant Business Manager.
Janine Martinez, Assistant Business Manager.
Susan Clark, Senior Administrative Assistant for Development.
Kathedral, Administrative Assistant for Design, Development, and Alumni Affairs.
Valerie Knoke, Marketing Manager.
Tracy Baldini, Audience Services Associate.
Edward Jooss, Concierge.
Marla Silberstein, Senior Administrative Assistant to the Production Supervisor.
Jacob Thompson, Jr., Security Officer.
10 School of Drama
History and Facilities
history of the school
A department of drama was founded in the School of the Fine Arts in 1924 through the
generosity of Edward S. Harkness,
B.A. 1897. In 1925, George Pierce Baker brought to
Yale his playwriting course and workshop. The first students were registered in the fall
of 1925 while the University Theater was under construction, and the first Master of Fine
Arts in Drama was conferred in 1931. In 1955, by vote of the Yale Corporation, the
department was reorganized as a separate professional school with jurisdiction over the
administration of the Master of Fine Arts in Drama and the Doctor of Fine Arts in
Drama. In 1966, the School of Drama extended the policy, instituted in 1927, of granting
certificates to those students who had completed the three-year program without having
the normal prerequisite bachelor’s degree, allowing actors and designers to continue
training at the School and Repertory Theatre after receiving a certificate, and eventually
to earn an
M.F.A. degree. This policy of continuing in residence to earn the M.F.A. was
discontinued in 1979. The Yale Repertory Theatre was founded by the School of Drama
in 1965 to facilitate a closer relationship between training and the practicing professional
theater for its faculty and students.
facilities
Instruction and Performance Venues
The University Theater at 222 York Street, erected in 1925–26 through a gift from Mr.
Harkness, is the School’s center. It includes a proscenium theater seating 654, and a
smaller, more flexible experimental theater, both of which are shared with the under-
graduate dramatic association. The University Theater also houses the main adminis-
trative offices, the scene shops, several classrooms, and the Drama Library. The Yale
Repertory Theatre (
YRT) is located in a distinctive building on the corner of York and
Chapel streets. Formerly the Calvary Baptist Church, the theater contains a 491-seat
auditorium facing a modified apron stage, and the
YRT/YSD box office. Holcombe T.
Green, Jr. Hall, located at 1156 Chapel Street, houses a new flexible performance space
seating up to 200 in a building that also houses the School of Art. Vernon Hall, at 217 Park
Street, contains a cabaret theater as well as rehearsal areas, classrooms, and offices. In
addition to the Yale Cabaret, Vernon Hall occasionally houses small-scale performances.
The School of Drama Annex at 205 Park Street includes a playwrights’ workshop and
rehearsal space, several classrooms, the Robertson Computer Lab, and offices. Each year
some classes meet in other University buildings, such as the 305 Crown Street building,
which houses rehearsal rooms and classrooms.
The building at 149 York Street houses extensive shops, offices, and rehearsal rooms
for the School of Drama and the Digital Media Center for the Arts (
DMCA).
Digital Media Center for the Arts
The DMCA, located at 149 York Street, is a multimedia facility that was created to
explore new areas of education and cross-disciplinary interaction that result when tradi-
tional art collides with the computer age. The center was conceived and designed by
Yale’s leaders in art, architecture, drama, history of art, film studies, and music, and from
the University Art Gallery, the Center for British Art, the Arts Library, and Information
Technology Services working closely with the offices of the President and Provost. The
DMCA
encourages and enables discovery and creation within the arts area community
in the field of electronic media, investigates how new information technologies fit into
established educational systems in the arts, and implements new models of arts educa-
tion. In addition, the center will produce special projects such as
CD-ROMs, videos,
multimedia Web sites, and other distance-learning experiments with broad bandwidth
digital transmission technologies. Faculty and students benefit from the availability of
advanced technologies and staff expertise. The interdisciplinary mission of the
DMCA is
to bring together painters, sculptors, graphic artists, photographers, architects, set
designers, musicians, actors, directors, and video artists.
Drama Library
The Yale University Library operates a Drama Library of over thirty thousand volumes
primarily for the use of students in the School of Drama. The library, which is situated
in the University Theater at 222 York Street, houses one of the largest working collec-
tions in existence of books and periodicals on drama and theater. It includes plays by
American, British, and foreign playwrights, books on the history of theater, theater
architecture, dramatic criticism, stage and costume design, stage lighting, production,
biographies, and reference books. Periodicals range from scholarly theater journals to
weekly trade papers. Books on the performing arts other than theater, such as motion
pictures, radio, television, dance, and opera, are also represented in the collection.
Included in the collection are Professor George Pierce Baker’s gift to the School of
his personal library; the Abel Cary Thomas,
B.A. 1905, bequest of about one thousand
bound plays; and some books from the personal library of Donald Oenslager.
The remarkable Yale-Rockefeller Collection of more than eighty thousand theatrical
prints and photographs, assembled under grants from the Rockefeller Foundation, also is
available to students. Other picture files include the scene design files from the Crawford
Collection of Sterling Memorial Library, which comprises scenes from motion pictures,
American and British plays and musicals, and Shakespearean productions.
A special section holds the bound production books of School of Drama productions
through 1966 and the scripts of the School and Repertory Theatre productions since that
time. Bound volumes of master’s theses and doctoral dissertations are also in this section
along with the collection of School and Repertory Theatre programs and scrapbooks.
Students in the School are free to use the collections in the libraries of other profes-
sional schools and in Sterling Memorial Library, as well as those of the Drama Library.
12 School of Drama
Degrees
master of fine arts
The Master of Fine Arts (M.F.A.) degree is conferred by the President and Fellows of Yale
University on students holding a bachelor’s degree from an accredited college who com-
plete with distinction any of the programs of study outlined, and who submit acceptable
individual degree projects to the faculty of the School. Three years is the normal time
required for this work; advanced standing granted by the faculty of the School may
reduce this, but in no case below a minimum of two years.
doctor of fine arts
The Doctor of Fine Arts (D.F.A.) degree is conferred by the President and Fellows of Yale
University on students who hold the
M.F.A. degree in Dramaturgy and Dramatic Criti-
cism, have completed the
M.F.A. qualifying comprehensive examinations with distinc-
tion, and have written a dissertation whose subject has been approved by the
D.F.A. Com-
mittee. In the dissertation, the student must have proven ability to do independent
research in the field of specialization. After subject approval, the candidate for the
D.F.A.
is required to submit the finished dissertation within two calendar years, unless the can-
didate has received an extension from the
D.F.A. Committee after submitting a written
request. Upon the committee’s final approval of the dissertation, one bound copy must
be delivered to the chair of the Department of Dramaturgy and Dramatic Criticism no
later than six weeks prior to the intended date of graduation. Dissertation guidelines are
available from the Department of Dramaturgy and Dramatic Criticism.
certificate in drama
The Certificate in Drama is conferred by the President and Fellows of Yale University
on students who do not hold a degree from an accredited college, but who complete with
distinction the three-year program in Acting, Design, Directing, Playwriting, Sound
Design, or Technical Design and Production. Certificate students receive exactly the
same training as students working toward the
M.F.A. degree. Upon written request the
certificate will be converted to an
M.F.A. degree if a student later satisfactorily completes
a recognized bachelor’s degree elsewhere.
technical internship certificate
The Technical Internship Certificate is awarded by the Yale School of Drama to students
who complete with distinction the one-year internship program of the Technical Design
and Production department.
All candidateson whom degrees or certificates are to be conferred must bepresent at the Commence-
ment exercises unless excused for urgent reasons by their department chair with the approval of
the dean. Requests to be excused from Commencement must be submitted by May 15, 2002.
Living at the School of Drama
The Yale School of Drama consists of theater professionals and students working
together in a conservatory setting. The life of the School includes classroom training and
a variety of production experiences, ranging from readings to performances at the Yale
Repertory Theatre. To accomplish the work of the School, an environment of order and
discipline is essential. The following procedures must be followed so that a proper and
supportive environment can exist.
priorities
The administration attempts to avoid conflicts between the requirements of the various
programs and activities. Should a conflict arise, the student is responsible for discussing
the problem with his or her department chair. Classes are the student’s first priority. At
times, however, a schedule conflict between a class and a matinee performance, or a “10
out of 12” technical/dress rehearsal of a Yale Repertory Theatre or School of Drama
directing thesis production will require a student to miss a class or part thereof. These
are the only exceptions to the absolute priority of classes in a student’s schedule. Beyond
the priority of classes, the following shall be the scheduling preferences: (1) Yale Reper-
tory Theatre; (2) directing thesis productions of the Yale School of Drama; (3) other
assigned production projects (verse project, playwright thesis, collaborative workshop
projects, etc.); (4) assigned work-study; (5) Cabaret productions; (6) unassigned work-
study. A specific schedule for all production calendar activities is issued at the beginning
of the academic year. Exceptions to the priorities do not set precedents.
attendance
Attendance at scheduled classes, special activities, and School meetings is required in
order to remain in good standing. Lateness will not be tolerated. Unexcused absences
during term time and the scheduled work weeks from class, production assignments,
rehearsals, and professional work assignments are not permitted. Requests for absences
must be approved in writing in advance by an instructor, the director or stage manager,
the rotation or assigned work-study supervisor, and the chair of the student’s depart-
ment, and filed with the registrar. Rehearsal, production, and performance calls are
posted each day. Unavoidable lateness for these calls must be reported to the individual
in charge as soon as possible, but no later than one-half hour before the call. Illnesses or
doctor’s appointments must be reported to the registrar’s office (432.1590). Lateness or
unexcused absence will result in disciplinary action or dismissal from the School.
understudy responsibilities
Understudy assignments are treated seriously in the School. Understudies are expected
to be available for any performance at a moment’s notice. Unless at home or at another
posted rehearsal, understudies must inform the stage manager of their location prior to
the performance. While an understudy, a student must have the permission of the chair
of the Acting department before leaving New Haven. Failure to be available to perform
as an understudy will be treated as unprofessional behavior subject to an action of dis-
missal by the faculty.
departmental assignments
Each department will assign its students responsibilities in major productions that relate
to their particular program. Each department will also schedule its students who are eli-
gible for work-study jobs.
Actors will be cast at the discretion of the chair of the Acting department. Directors
must discuss their casting suggestions with the Acting department chair and appropriate
Directing faculty. The cast list will be posted only after it is approved by the dean. The
casting pool for School productions and projects will consist of those acting students who
have demonstrated in class the discipline and collaborative attitudes necessary for a sup-
portive environment. Any deficiency in these qualities will result in removal from all
casting until such deficiency is corrected to the satisfaction of the faculty. Once assigned
to a production or cast in a role, the student is required to fulfill that obligation.
All members of the cast and crew of a production at the School of Drama are oblig-
ated to strike the show.
The production supervisor, the financial aid officer, the associate dean for adminis-
tration, and the managing director will set the number of hours devoted to priority work-
study jobs according to the needs of the School and the abilities of the students. Budgets
for School of Drama projects will be established by the production supervisor and the
managing director. Purchases for projects must be pre-approved; students who spend
their own money without prior consent will not be repaid.
rehearsals
The Yale Repertory Theatre and the School of Drama maintain an open rehearsal policy.
However, rehearsals may be closed by the director at any time. Therefore, those wishing
to attend a rehearsal should check with the stage manager beforehand. The stage man-
ager may limit the number of observers to avoid overcrowding.
Rehearsals are normally scheduled from 2 to 11 p.m. Monday through Friday and as
called on Saturday. With advance notice and approval of the dean, directors of major
productions at the School may change the day off from Sunday to Saturday.
The number of rehearsal hours for any given project is set by the Acting and Direct-
ing departments. Actors ordinarily are called no more than five hours in one day for
rehearsal of a School production. Actors who are double cast cannot commit to Cabaret
productions. A director may ordinarily rehearse a major School production no more
than seven hours in one day. Directors should cooperate with each other to ensure that
actors have reasonable periods off for breaks. The final week before the opening of a
production is an exception to these rules. The administration will attempt to schedule
these times in the best interests of the production and the School.
Living at the School of Drama 15
mandatory work requirements
All students in the School are expected to fulfill crew assignments, either as part of work-
study or to satisfy the needs of a particular production. Every student in the School is
required to fulfill seventy-five hours of work-study, either on crew or other appropriate
assignment. Assignments by the production supervisor must be honored.
outside employment
The School encourages students to engage in professional work, but not at the expense
of their obligations to the School. The School demands that students prepare for classes
and rehearsals, attend them, and participate fully in the life of the School. All requests to
work outside the School should be submitted to the appropriate department chair in
sufficient time to be reviewed by the dean. Under no circumstances should actors
commit to projects outside the School. It should be understood that permission to par-
ticipate in outside projects (whether paid or not) is rarely given.
vacations and touring
Whenever a student must forgo all or part of a School vacation because of a crew assign-
ment, rehearsal, or performance for either Repertory Theatre or School productions, the
student is paid eight hours for each vacation day in which he or she is required to be pres-
ent. All compensation will be set at the prevailing work-study rate.
Students will not be paid for School productions that go on tour. Students required
to perform in or crew on Repertory Theatre shows on tour will be paid at Equity mini-
mum plus an appropriate per diem, in compliance with union regulations.
course standards and requirements
Each department develops its own course of study in consultation with the dean. The
advantage of a small institution lies in its ability to give personal attention; each individ-
ual is encouraged to expand and broaden his or her program with the aid of the chair of
that department. A department may choose to vary specific requirements on an individ-
ual basis with the approval of the dean.
Students who have done considerable work in dramatic literature and theater history
or in technical design and production may be exempted from, and receive credit for, a
required course by satisfactory completion of a written or oral examination. This exam-
ination is given within the first two weeks of the term by the instructor offering the
course.
School of Drama students may take courses for credit, audit, or the Pass/Fail option
at any of the other schools at the University with the approval of the student’s adviser,
department chair, and the course instructor. Students enrolling in courses at other
schools are subject to all policies and deadlines of both that school and the Drama
School. Auditors must receive permission from the instructor before enrolling as an
auditor, as not all faculty permit auditors in their classes. The minimum general require-
16 School of Drama
ment for auditing is attendance in two-thirds of the class sessions; instructors may set
additional requirements for auditing their classes. Outside courses are graded according
to Drama School policy. Process and laboratory courses are ordinarily open only to stu-
dents in the department offering the courses.
registration
Students must register prior to the beginning of classes in the fall. Any student who
cannot attend the scheduled registration must receive written permission from the reg-
istrar in advance. Students who fail to register on time without proper permission are
subject to a
$10 late fee. All international students are required to complete a nonacade-
mic registration with the Office of International Students and Scholars prior to the
beginning of classes, in addition to the School registration.
All students must submit their course schedules to the registrar within one week of
the first day of classes of each term and are responsible for notifying the registrar of any
changes in their schedules.
drama requirement
Drama 6a/b, Survey of Theater and Drama, is a requirement for all students in
the departments of Acting, Design, Sound Design, Technical Design and Production,
Theater Management, and Stage Management. Students may be exempted from this
requirement through an examination administered by the Dramaturgy and Dramatic
Criticism faculty at the beginning of each term of the first year.
All students in the departments of Directing, Dramaturgy and Dramatic Criticism,
and Playwriting are required to take a three-course cycle in Dramatic Structure and Play
Analysis (Drama 26a/b), Issues in Theory: From Drama to Performance (Drama
306a/b), and Theater History (Drama 316a/b). Each is a two-term course, originating
from the Department of Dramaturgy and Dramatic Criticism. These courses are taught
one-a-year over three years. Unlike Drama 6a/b, Survey of Theater and Drama, there is
no examination exempting students from these courses.
Cycle courses are available on a limited basis to students in other departments if they
can demonstrate an adequate background and after consultation and approval from their
departmental advisers and department chair.
evaluations and grading
The first year of residence is probationary for all students at the School. This means that
students will be evaluated on the basis of their talent, application to training, and devel-
opment of craft. Students in their first year may be dismissed at any time without prior
warning.
Students in the second year will continue to be evaluated on these criteria, but they
will not be asked to leave until they have been warned about their status, and have been
given a chance to improve over one evaluation period.
Living at the School of Drama 17
Students moving into their third year are expected to complete their training unless
there is a serious breach of discipline or a failure to meet class or production require-
ments (in other words, persistent absence from classes without excuse, repeated failure
to meet and make up class assignments, salient unprofessional behavior in production, and
the like).
The completion of three years of training does not guarantee the awarding of the
degree or the certificate unless students have passed their course of study with distinc-
tion, have successfully demonstrated their talent and ability, and have completed all non-
classroom requirements of their program.
Grades for certain courses in the departments of Dramaturgy and Dramatic Criti-
cism, Technical Design and Production, and Theater Management are Honors, High
Pass, Pass, Fail. Grades given in all other courses are Pass and Fail.
Under exceptional circumstances, an instructor may give a grade of Incomplete.
However, the student is expected to complete the course requirements within one month
of the end of the term. After that time, the grade of Incomplete will be converted, at the
discretion of the instructor and department, to a grade of either Permanent Incomplete
or Fail. If, for some reason, the student is unable to complete the course requirements
during the allotted time, the student may petition the faculty for an extension. In cases
where an Incomplete is registered at the end of an academic year and is not cleared before
registration for the following fall term, the student will, most likely, be placed on warn-
ing. Students may withdraw from a required course only with permission of the depart-
ment chair. Grades are issued at the end of each term.
Warnings indicate faculty reservations about the progress of a student in one or more
courses or in production work. This warning serves primarily to inform the student of
deficiencies and does not appear on a formal Yale transcript.
Probation indicates a more serious reservation about the ability or willingness of a stu-
dent to meet the requirements of the School. Probation may be accompanied by loss of
scholarship, and remains in effect for a minimum of one review period. If the student’s
standing improves after this period, probation will be removed and the scholarship, if
suspended, will be reinstated.
Dismissal indicates a conviction on the part of the faculty that a student is unable to
meet the requirements of the School. First-year students are normally notified of their
status at the end of the year. However, in very rare cases, they may be dismissed during
the year. Second- and third-year students are dismissed for academic or professional
reasons only if they have received warning or have been put on probation in some previ-
ous evaluation period. Disciplinary dismissal may take place at any time during the year for
any student in the School. Once dismissed, a student is not eligible for readmission. Students asked
to withdraw by the faculty are also not eligible for readmission.
Students will be notified of warning, probation, and dismissal actions by letter and
will also be scheduled for consultation with the appropriate department chair.
18 School of Drama
leave of absence and withdrawal
Any student who plans to interrupt his or her program of study, either temporarily or
permanently, must make formal written application to the chair of his or her department,
submit the appropriate form to the registrar, and obtain written approval from the dean.
Conditions for returning to the School will be specified by the dean. A leave of absence
is usually granted for one, two, or three terms, usually for reasons of health. The faculty
does not normally grant a leave of absence to enable a student to take on a professional
commitment.
A student who is on a leave of absence must notify the registrar in writing by Febru-
ary 15 of his or her intent to return and must submit appropriate financial aid applications
to the financial aid officer by February 15 if the student wishes to be considered for finan-
cial assistance. A student on a leave of absence is eligible for health coverage and is
responsible for obtaining this coverage. If a student does not return from a leave of
absence, or does not request and receive an extension through the faculty, he or she will
be automatically dropped from the School. Anyone who has withdrawn or been granted
a leave of absence and remained away beyond the normal time permitted, usually two
years plus a one-year extension, must reapply for admission.
transcripts
Transcripts will be issued by the registrar only by written request from the student and
only if the student has no outstanding debts to the School or University. No charge will
be made for the first mailing of a transcript; thereafter, a charge of
$5 per transcript will
be imposed.
dossier service
The Registrar’s Office maintains an informal placement service for School of Drama stu-
dents and alumni. Close contact is kept with the professional theater, summer theater, and
other educational institutions. Many requests are received annually for suggestions to fill
vacancies. No charge is made for this service to students in residence. For students who
have graduated and want to maintain dossiers to be mailed on request, a charge of
$10 is
imposed to cover duplicating and mailing costs for each request. Students interested in
starting a dossier should consult the registrar.
privacy of student records
Federal law prohibits access to student records by another party without the prior writ-
ten consent of the student. Records of deceased former students are the property of the
School and will not be made available to others.
Living at the School of Drama 19
school of drama student government
The School of Drama Student Government (SDSG) strives to enhance the educational
experience of each student by being a forum for students’ ideas and concerns and acting
as a liaison between students and the faculty and administration; and by promoting edu-
cational and social activities that help foster a strong sense of community within the Yale
School of Drama.
sexual harassment
Sexual harassment is antithetical to academic values and to a work environment free from
the fact or appearance of coercion. It is a violation of the University policy and may result
in serious disciplinary action. Sexual harassment consists of nonconsensual sexual
advances, requests for sexual favors, or other verbal or physical conduct of a sexual nature
on or off campus, when: (1) submission to such conduct is made either explicitly or
implicitly a condition of an individual’s employment or academic standing; or (2) sub-
mission to or rejection of such conduct is used as the basis for employment decisions or
for academic evaluation, grades, or advancement; or (3) such conduct has the purpose or
effect of unreasonably interfering with an individual’s work or academic performance or
creating an intimidating or hostile academic or work environment. Sexual harassment
may be found in a single episode, as well as in persistent behavior. Conduct that occurs
in the process of application for admission to a program or selection for employment is
covered by this policy, as well as conduct directed toward University students, faculty, or
staff members.
grievances
In general, a student with a complaint or grievance should see his or her department
chair. In situations concerning alleged sexual harassment, the student should see the
Title
IX coordinator, Victoria Nolan, to obtain a copy of the specific grievance proce-
dure. Any grievance that cannot be resolved through the department chair, or the Title
IX coordinator, may be brought to the dean of the School of Drama.
20 School of Drama
Living at Yale University
cultural, religious, and athletic facilities at
yale and in new haven
A calendar of events in the University is issued each week during the academic year in the
Yale Bulletin & Calendar. The hours when special as well as permanent collections of the
University may be seen are also recorded in this publication, which is available in the
School of Drama’s Green Room.
The School of Drama publishes a weekly newsletter, The Prompter, that lists all School
and Repertory Theatre productions and projects as well as events, films, lectures, and the
like, of relevance to the School of Drama community.
The Yale University library system embraces thirty-six school and departmental col-
lections in addition to Sterling Memorial Library, the Cross Campus Library, the Bei-
necke Rare Book and Manuscript Library, and the Seeley G. Mudd Library. All volumes,
exceeding ten million, are available to each Yale student.
The Yale Peabody Museum of Natural History contains collections in anthropology,
mineralogy, oceanography, paleontology, and some aspects of geology.
The Yale University Art Gallery contains representative collections of ancient,
medieval, and Renaissance art, Near and Far Eastern art, archaeological material from
the University’s excavations, Pre-Columbian and African art, works of European and
American masters from virtually every period, and a rich collection of modern art.
The Yale Center for British Art houses an extraordinary collection of British paint-
ings, sculpture, drawings, and books given to the University by the late Paul Mellon, Yale
Class of 1929.
There are more than eighty endowed lecture series held at Yale each year on subjects
ranging from anatomy to theology, and including virtually all disciplines.
More than four hundred musical events take place at the University during the aca-
demic year. These include concerts presented by students and faculty of the School of
Music, the Department of Music, the Yale Concert and Jazz bands, the Yale Glee Club,
the Yale Symphony Orchestra, and other undergraduate singing and instrumental
groups. In addition to graduate recitals and ensemble performances, the School of Music
features the Philharmonia Orchestra of Yale, the Chamber Music Society at Yale, New
Music New Haven, Yale Opera performances and public master classes, and the Faculty
Artist Series. Among New Haven’s numerous performing organizations are Orchestra
New England, the New Haven Chorale, and the New Haven Symphony Orchestra.
Established in 1949, the International Center of New Haven is a nonprofit commu-
nity-based organization. The Center’s programs are based on the idea that both the
international community in Greater New Haven and the local community can benefit
from each other. The Center is located at 442 Temple Street, and the office is open from
9 a.m. to 4.30 p.m., Monday through Thursday, and from 9 a.m. to noon on Friday. The
work of the International Center is carried out by a small professional staff and by many
volunteers in the community. The Center organizes lectures, trips, picnics, and special
events, as well as English as a Second Language (
ESL) classes, in addition to a number of
programs including the International Host Friendship Program, ’Round The World
Women, and the International Classroom Project. The International House, a large
Tudor mansion located at 406 Prospect Street in New Haven, is the venue of most of the
International Center’s activities and the home of sixteen students and scholars. Rooms
are available for the academic year and summer. For more information on any of these
programs, or on International House, telephone 203.432.6460, fax 203.432.6462, e-mail
international.centernh
@
yale.edu, or visit the Web site at http://www.oiss.yale.edu/
icnh/.
The religious resources of Yale University serve all students, faculty, and staff. These
resources are the University Chaplaincy (located on the lower level of Bingham Hall on
Old Campus); the Church of Christ in Yale University, an open and affirming member
congregation of the United Church of Christ; and Yale Religious Ministry, the on-
campus association of clergy and nonordained representatives of various religious faiths.
The ministry includes the Chapel of St. Thomas More, the parish church for all Roman
Catholic students at the University; the Joseph Slifka Center for Jewish Life at Yale,
a religious and cultural center for students of the Jewish faith; several Protestant denom-
inational ministries and nondenominational groups; and religious groups such as
the Baha’i Association, the Unification Church, the New Haven Zen Center, and the
Muslim Student Association. Additional information is available at http://www.yale.
edu/chaplain/.
The Payne Whitney Gymnasium is one of the most elaborate and extensive indoor
athletic facilities in the world. This amazing complex includes the 3,100-seat John J. Lee
Amphitheater, the site for many indoor varsity sports contests; the Robert J. H. Kiphuth
Exhibition Pool, an architectural marvel; the Brady Squash Center, a world-class facility
with fifteen international-style courts; the Adrian C. Israel Fitness Center, a state-of-the-
art exercise and weight-training complex; the Brooks-Dwyer Varsity Strength and Con-
ditioning Center, the envy of the Ivy League; the Colonel William K. Lanman, Jr.
Center, a 30,ooo-square-foot space for recreational/intramural play and varsity team
practice; the Greenberg Brothers Track, an eighth-mile indoor jogging track; and other
rooms devoted to fencing, gymnastics, rowing, wrestling, martial arts, general exercise,
and dance. Numerous physical education classes in dance, martial arts, aerobic exercise,
and sport skills are offered throughout the year. Graduate and undergraduate students
may use the gym at no charge during the academic year and for a nominal fee during the
summer term. Academic and summer memberships at reasonable fees are available for
faculty, employees, postdoctoral and visiting fellows, and student spouses.
The David S. Ingalls Rink, the Sailing Center in Branford, the Outdoor Education
Center (
OEC), the tennis courts, and the golf course are open to faculty, students, and
employees of the University at established fees.
Approximately thirty-five club sports and outdoor activities come under the jurisdic-
tion of the Office of Outdoor Education and Club Sports. Many of the activities, both
purely recreational and instructional, are open to graduate and undergraduate students.
22 School of Drama
Faculty, staff, and alumni, as well as groups, may use the Outdoor Education Center
(
OEC). The center consists of two thousand acres in East Lyme, Connecticut, and
includes cabins, campsites, pavilion, dining hall, swimming, boating, canoeing, and
picnic groves beside a mile-long lake. Hiking trails surround a wildlife marsh. The
OEC
season extends from the third weekend in June through Labor Day and September week-
ends. For more information, telephone 203.432.2492 or visit the Web page at http://yale.
edu/athletics/ (click on Sport and Rec, then on Outdoor Education).
Throughout the year, Yale University graduate and professional students have the
opportunity to participate in numerous intramural sports activities. These seasonal,
team-oriented activities include volleyball, soccer, and softball in the fall; basketball
and volleyball in the winter; softball, soccer, and volleyball in the spring; and softball in
the summer. With few exceptions, all academic-year graduate-professional student
sports activities are scheduled on weekends, and most sports activities are open to com-
petitive, recreational, and coeducational teams. More information is available from the
Intramurals Office in Payne Whitney Gymnasium, 203.432.2487, or at http://www.yale.
edu/athletics/.
office of international students and scholars
The Office of International Students and Scholars (OISS) coordinates services and sup-
port to Yale’s international students, faculty, staff, and their dependents.
OISS assists
members of the Yale international community with all matters of special concern to them
and serves as a source of referral to other university offices and departments.
OISS staff
can provide assistance with employment, immigration, personal and cultural adjustment,
and family and financial matters, as well as serve as a source of general information about
living at Yale and in New Haven. In addition, as Yale University’s representative for
immigration concerns,
OISS provides information and assistance to students, staff, and
faculty on how to obtain and maintain legal status in the United States.
OISS issues the
visa documents needed to request entry into the United States under Yale’s immigration
sponsorship and processes requests for extensions of authorized periods of stay in the
United States, school transfers, and employment authorization. All international stu-
dents and scholars must register with
OISS as soon as they arrive at Yale, at which time
OISS will provide information about orientation activities for newly arrived students.
As
U.S. immigration regulations are complex and change rather frequently, we urge
international students and scholars to visit the office and check the
OISS Web site
(www.oiss.yale.edu) for the most recent updates. Other information of interest to inter-
national students and scholars will also be posted on the
OISS Web site.
The Office of International Students and Scholars, located at 246 Church Street,
Suite 201, is open Monday through Friday from 8.30 a.m. to 5 p.m.
OISS advisers are
available to see students and scholars for walk-in appointments Monday through Friday,
9 a.m.–noon and 1–4 p.m.
Living at Yale University 23
health services for school of drama students
Yale University Health Services (YUHS) is located on campus at the University Health
Services Center (
UHSC) at 17 Hillhouse Avenue. YUHS offers a wide variety of health
care services for students and other members of the Yale community. Services include
internal medicine, gynecology, mental health, pediatrics, pharmacy, laboratory, radiol-
ogy, a twenty-seven-bed inpatient care facility (
ICF), a twenty-four-hour urgent care
clinic, and such specialty services as allergy, dermatology, and orthopedics, among
others.
YUHS
also includes the Yale Health Plan (YHP), a health coverage option that
coordinates and provides payment for the services outlined above as well as for emer-
gency treatment, off-site specialty services, inpatient hospital care, and other ancillary
services.
YUHS
’s services are comprehensively described in the
YHP Student Handbook,
available through the
YHP
Member Services Department, 203.432.0246, located at 17
Hillhouse Avenue.
Eligibility for Services
All full-time Yale degree-candidate students who are paying at least half tuition are
enrolled automatically for
YHP Basic Coverage. YHP Basic Coverage is offered at
no charge and includes preventive health and medical services in the departments of
internal medicine, gynecology, health education, and mental health (mental hygiene). In
addition, through the Urgent Care Clinic, treatment for urgent medical problems can be
obtained twenty-four hours a day. Students who need more acute care receive services in
the
ICF.
Students on leave of absence or on extended study and paying less than half tuition
are not eligible for
YHP Basic Coverage but may enroll in YHP Student Affiliate Cover-
age. Students enrolled in the Division of Special Registration as nondegree special stu-
dents or visiting scholars are not eligible for
YHP Basic Coverage but may enroll in the
YHP Billed Associates Plan and pay a monthly premium fee. Associates must enroll for a
minimum of one term within the first thirty days of affiliation with the University.
Students not eligible for
YHP Basic Coverage may also use the services on a fee-for-
service basis. Students who wish to be seen fee-for-service must enroll with the
YHP
Member Services Department. Enrollment applications for the YHP Student Affiliate
Coverage, Billed Associates Plan, or Fee-for-Service program are available from the
YHP Member Services Department.
All students are welcome to use specialty and ancillary services at
UHSC. Upon refer-
ral,
YHP will cover the cost of these services if the student is a member of YHP Hospi-
talization/Specialty Care Coverage (see below). If the student has an alternate insurance
plan,
YHP will assist in submitting the claims for specialty and ancillary services to the
other plan and will bill through the Office of Student Financial Services for noncovered
charges and services.
Health Coverage Enrollment
The University also requires all students eligible for YHP Basic Coverage to have ade-
quate hospital insurance coverage. Students may choose
YHP Hospitalization/Specialty
24 School of Drama
Coverage or elect to waive the plan if they have other hospitalization coverage, such as
coverage through a spouse or parent. The waiver must be renewed annually, and it is the
student’s responsibility to confirm receipt of the waiver form by the University’s dead-
lines noted below.
yhp hospitalization
/
specialty coverage
Students are automatically enrolled and charged a fee each term on their Office of Stu-
dent Financial Services bill for
YHP Hospitalization/Specialty Coverage. Students who
are enrolled during both the fall and spring terms are billed each term and are covered
from September 1 through August 31. A student whose first term of enrollment in the
academic year is the spring term is charged a fee for coverage from February 1 through
August 31.
For students entering Yale for the first time, readmitted students, and students
returning from a leave of absence who have not been covered during their leave,
YHP
Hospitalization/Specialty Coverage begins on the day the dormitories officially open.
Subsequently, coverage is effective from September 1 through August 31. A student who
is enrolled for the fall term only is covered for services through January 31; a student
enrolled for the spring term only is covered for services through August 31.
For a detailed explanation of this plan, see the
YHP Student Handbook.
Waiving the YHP Hospitalization/Specialty Coverage: Students are permitted to waive YHP
Hospitalization/Specialty Coverage by completing a waiver form that demonstrates
proof of alternate coverage. Waiver forms are available from the
YHP Member Services
Department. It is the student’s responsibility to report any changes in alternate insurance
coverage to the
YHP Member Services Department. Students are encouraged to review
their present coverage and compare its benefits to those available under the
YHP plan.
The waiver form must be filed annually and must be received by September 15 for the full
year or fall term or by January 31 for the spring term only.
Revoking the Waiver: Students who waive
YHP Hospitalization/Specialty Coverage but
later wish to be covered must complete and send a form voiding their waiver to the
YHP
Member Services Department by September 15 for the full year or fall term or by Janu-
ary 31 for the spring term only. Students who wish to revoke their waiver during the term
may do so, provided they show proof of loss of the alternate insurance plan and enroll
within thirty days of the loss of this coverage.
YHP premiums will not be prorated.
yhp prescription plus coverage
This plan has been designed for Yale students who purchase YHP Hospitalization/Spe-
cialty Coverage and student dependents who are enrolled in either the Two-Person Plan
or the Student Family Plan.
YHP Prescription Plus Coverage provides protection for
some types of medical expenses not covered under
YHP Hospitalization/ Specialty Cov-
erage. Students are billed for this plan and may waive coverage. The waiver form must
be filed annually and must be received by September 15 for the full year or fall term or by
January 31 for the spring term only. For a detailed explanation, please refer to the
YHP
Student Handbook.
Living at Yale University 25
yhp student two-person and family plans
A student may enroll his or her lawfully married spouse or same-sex domestic partner
and/or legally dependent child(ren) under the age of nineteen in one of two student
dependent plans: the Two-Person Plan or the Student Family Plan. These plans include
coverage for
YHP Basic Coverage and for coverage under YHP Hospitalization/Spe-
cialty Coverage.
YHP Prescription Plus Coverage may be added at an additional cost.
Coverage is not automatic and enrollment is by application. Applications are available
from the
YHP Member Services Department and must be renewed annually. Applica-
tions must be received by September 15 for full-year or fall-term coverage or by January
31 for spring-term coverage only.
yhp student affiliate coverage
Students on leave of absence or extended study or students paying less than half tuition
may enroll in
YHP Student Affiliate Coverage, which includes coverage for YHP Basic
and for the benefits offered under
YHP Hospitalization/Specialty Coverage. Applica-
tions are available from the
YHP Member Services Department and must be received by
September 15 for full-year or fall-term coverage or by January 31 for spring-term cover-
age only.
Eligibility Changes
Withdrawal: A student who withdraws from the University during the first ten days of the
term will be refunded the premium fee paid for
YHP Hospitalization/Specialty Cover-
age and/or
YHP Prescription Plus Coverage. The student will not be eligible for any
YHP benefits, and the student’s YHP membership will be terminated retroactive to the
beginning of the term. The medical record will be reviewed, and any services rendered
and/or claims paid will be billed to the student on a fee-for-service basis. At all other
times, a student who withdraws from the University will be covered by
YHP for thirty
days following the date of withdrawal or to the last day of the term, whichever comes
first. Premiums will not be prorated. Students who withdraw are not eligible to enroll in
YHP Student Affiliate Coverage.
Leaves of Absence: Students who are granted leaves of absence are eligible to purchase
YHP Student Affiliate Coverage during the term(s) of the leave. If the leave occurs
during the term,
YHP Hospitalization/Specialty Coverage will end on the date the leave
is granted and students may enroll in
YHP Student Affiliate Coverage. Students must
enroll in Affiliate Coverage prior to the beginning of the term during which the leave is
taken or within thirty days of the start of the leave. Coverage is not automatic and enroll-
ment forms are available at the
YHP Member Services Department.
Extended Study: Students who are granted extended study status or pay less than half
tuition are not eligible for
YHP Hospitalization/Specialty Coverage and YHP Prescrip-
tion Plus Coverage. They may purchase
YHP Student Affiliate Coverage during the
term(s) of extended study. This plan includes coverage for
YHP Basic and for the benefits
offered under
YHP Hospitalization/Specialty Coverage. Coverage is not automatic and
26 School of Drama
enrollment forms are available at the YHP Member Services Department. Students must
complete an enrollment application for the plan prior to the start of the term.
For a full description of the services and benefits provided by
YHP, please refer to
the
YHP Student Handbook, available from the YHP Member Services Department,
203.432.0246, 17 Hillhouse Avenue,
PO Box 208237, New Haven ct 06520-8237.
Required Immunizations
Before matriculation, all students who were born after December 31, 1956, are required
to provide proof of immunization against measles (rubeola) and German measles
(rubella). Connecticut state law requires two doses of measles vaccine. The first dose
must have been given on or after the student’s first birthday and after 1969. The second
dose must have been given after January 1, 1980. These doses must be at least one month
apart. Connecticut state law requires proof of one dose of rubella vaccine administered
after the student’s first birthday and after 1969. The law applies to all students unless they
present (a) a certificate from a physician stating that such immunization is contraindi-
cated, (b) a statement that such immunization would be contrary to the student’s reli-
gious beliefs, or (c) results of blood work confirming immunity to measles and rubella.
Students who have not met these requirements prior to arrival at Yale University must
receive the immunizations from
YHP and will be charged accordingly.
resource office on disabilities
The Resource Office on Disabilities facilitates accommodations for undergraduate and
graduate and professional school students with disabilities who register with and have
appropriate documentation on file in the Resource Office. Early planning is critical.
Documentation may be submitted to the Resource Office even though a specific accom-
modation request is not anticipated at the time of registration. It is recommended that
matriculating students in need of disability-related accommodations at Yale University
contact the Resource Office by June 1. Returning students must contact the Resource
Office at the beginning of each term to arrange for course and exam accommodations.
The Resource Office also provides assistance to students with temporary disabilities.
General informational inquiries are welcome from students and members of the Yale
community and from the public. The mailing address is Resource Office on Disabilities,
Yale University, 100 Wall Street,
PO Box 208305, New Haven ct 06520-8305. Access to
the Resource Office is through the College Street entrance to William L. Harkness Hall
(
WLH). Office hours are Monday through Friday, 8.30 a.m. to 5 p.m. Voice callers may
reach staff at 203.432.2324;
TTY/TDD callers at 203.432.8250. The Resource Office may
also be reached by e-mail (judith.york
@
yale.edu) or through its Web site (www.yale.
edu/rod/).
Living at Yale University 27
Departmental Requirements
and Courses of Instruction
acting (m.f.a. and certificate)
The Acting department admits talented and committed individuals who possess an active
intelligence, a strong imagination, and a physical and vocal instrument capable of devel-
opment, and prepares them for work as professional actors. At the conclusion of their
training, individuals will be prepared to work on a wide range of material and in a vari-
ety of venues. The program combines in-depth classroom training with extensive
production work.
The first year is a highly disciplined period of training. Through rigorous attention
to the text, students learn to identify and personalize a character’s driving need (objec-
tive) and to engage themselves (voice, body, mind, and spirit) in its active pursuit,
informed by character-specific listening. Scene study concentrates on the realistic works
of Chekhov, Ibsen, and others. The first production opportunity comes at the end of the
first term with the presentation of collaboratively created projects adapted from source
material assigned by the faculty (Drama 50a). At the beginning of the second term, there
is a first-year project designed to exercise the skills being developed in class, directed by
a visiting professional director. After the first-year project, students in good standing
enter the casting pool for school productions. At the end of the first year, actors are intro-
duced to Shakespeare and text work. Students who have demonstrated and developed
their talent during the year will be invited by the faculty to return for a second year of
training.
Second-year work expands the focus on verse drama, with continued emphasis on
understanding and performing the works of Shakespeare. Students strengthen their
skills and attain a higher level of ensemble work through their classes and through
increasing production assignments. At the end of the second year, the work shifts to
other verse texts. The third year is spent exploring the varied material of contemporary
theater.
School production opportunities include work in a diverse season of directors’ thesis
productions, verse plays, and new plays by student playwrights. All casting is assigned by
the chair of the Acting department (pending approval by the dean) based on the devel-
opmental needs of each student and on the needs of the project as articulated by its direc-
tor. Actors should take note of the casting policy as further stated on page 15 under
departmental assignments. During the school year, acting in projects outside the School
is discouraged, and permission to do so is rarely given.
The Yale Repertory Theatre serves as an advanced training center for the depart-
ment. For the past several years, each third-year class has performed in a project as part
of the regular season of the Repertory Theatre. In addition, all acting students work at
the Rep as understudies, observing and working alongside professional actors and direc-
tors. A few have the opportunity to appear in supporting roles during the season,
depending upon their appropriateness to the parts available. (Through understudy
assignments, those students who are not members of Actors’ Equity will attain member-
ship upon graduation.)
The Yale Cabaret provides an additional, although strictly extracurricular, outlet
for the exploration of a wide range of material: serious, absurdist, improvisational, and
musical.
Plan of Study: Acting
In keeping with the conservatory nature of the Acting department, detailed course list-
ings are not included here. Each year’s instruction includes work in voice, speech, move-
ment, the Alexander Technique, and scene study, with four terms each of singing and
combat. There are also workshops in additional physical and vocal techniques, camera work,
and audition technique. Students are required to attend all classes in their curriculum.
In addition to courses offered in their department, actors take Drama 6 (Survey of
Theater and Drama), Drama 50a (The Collaborative Process), and Drama 47 (Playwrights’
Workshop). See descriptions under Dramaturgy and Dramatic Criticism, Directing, and
Playwriting, respectively.
directing (m.f.a. and certificate)
The Directing department admits a few talented individuals each year who have demon-
strated the potential to be professional directors. These students should have a solid
background in the literature and theory of drama, and practical experience. They are
chosen to bring to the School a wide range of sensibility. They leave with a variety of
preferences for different kinds of text—languages as diverse as those of nonlinear prose,
Elizabethan verse, and the gestures of performance art. Each director, each vision, is dif-
ferent and unique.
What they share, however, are some crucial qualities: a sense of responsibility for the
vision and the political stance it implies; an appreciation for the traditions and achieve-
ments to which they are heirs; some well-honed critical skills; deep respect for the artists
with whom they work; a desire to serve the work; an appetite for the hard questions; a high
regard for language; and an awareness of process and the way in which it affects product.
Training of directors is closely related to the training of actors. In the first year, direc-
tors are required to participate in most of the courses required of first-year actors. In the
second and third years, directors are required to participate in some of the courses within
the acting curriculum and a variety of courses in other disciplines designated by the fac-
ulty as needed for the development of the director’s craft.
Throughout the three years, directors practice their craft in diverse forums, ranging
from scene work to full productions in various performance spaces. First-year directors
serve as assistant directors on School productions and direct one realistic play and at least
one new play written by a playwriting student. In the second year, directors serve as assis-
tant directors on School or Repertory Theatre productions and direct one verse project
and at least one new play. Third-year directors may serve as assistant directors on Reper-
tory Theatre productions and are required to direct one new play and a full production
Directing 29
as their thesis. In each academic year, all directors are encouraged to direct at least one
production in the Yale Cabaret. Additional projects may be assigned to directors in all
three years, including new works and Yale Cabaret productions and, on occasion, casting
in School and Repertory Theatre productions.
Plan of Study: Directing
required sequence
Year Course Subject
I Drama 50a The Collaborative Process
Drama 103a/b Acting I
Drama 110a/b Directing Techniques
Drama 111a/b American Theater Practice
Drama 191b Managing the Production Process
Drama 306a/b Issues in Theory: From Drama to Performance
Drama 330a/b Directing Practicum
II Drama 47b Playwrights’ Workshop
Drama 102a/b Scene Design
Drama 115a/b Costume Design: Background and Practice
Drama 120a/b Second-Year Directing
Drama 124a/b Introduction to Lighting Design
Drama 148a/b Music and Sound for the Theater
Drama 203a Acting II
Drama 306a/b Issues in Theory: From Drama to Performance
Drama 330a/b Directing Practicum
III Drama 47a/b Playwrights’ Workshop
Drama 130a/b Third-Year Directing
Drama 140a/b The Director’s Thesis
Drama 261a/b Management Seminar
Drama 306a/b Issues in Theory: From Drama to Performance
Drama 330a/b Directing Practicum
Course requirements may alter, depending on the needs of a particular class or of an
individual.
Courses of Instruction
[DRAM 26a/b, Dramatic Structure and Play Analysis. See description under Dra-
maturgy and Dramatic Criticism. Not offered in 2001–2002.]
DRAM 47a/b, Playwrights’ Workshop. See description under Playwriting.
DRAM 5oa, The Collaborative Process. A laboratory workshop in collective creation
designed for first-term actors, dramaturgs, and directors who are divided into four
discrete ensembles. Drawing from a single narrative source work selected by faculty—a
30 School of Drama
literary text, historical event, painting, or musical composition—each group, over the
term, develops and rehearses an assigned portion of this selected work. A final showing
of the four ensemble creations (in narrative sequence) is presented to the full school late
in the term. The goals of the project include non-hierarchical collaboration, the exercis-
ing of the techniques of the student’s chosen field of pursuit, collective imagining and
execution, and a sharing of individual theatrical talents. David Chambers, Catherine
Sheehy, Evan Yionoulis.
DRAM
1o2a/b, Scene Design. See description under Design.
DRAM
1o3a/b, Acting I.
DRAM 11oa/b, Directing Techniques. The course examines the history of twentieth-
century Western performance from a practical directorial viewpoint, commencing with
the Russian revolutionary era and concluding with contemporary postmodernism and
interculturalism. Critical aesthetic moments and artists are researched in seminar and then
practiced in onstage examinations during the Directing Practicum (Drama 330a/b). In
the second term, the course adds new play production and preparation for Shake-
spearean performance. The faculty supervisor leads group discussions and private
rehearsal critiques for the first-term realism projects which culminate that term’s work,
and the second term’s new play projects (with Yale playwrights). He also supervises the
selection by the directing student of his or her second-year verse project. David Cham-
bers.
DRAM 111a/b, American Theater Practice. See description under Theater Manage-
ment.
DRAM 115a/b, Costume Design: Background and Practice. See description under
Design.
DRAM 12oa/b, Second-Year Directing. A seminar for second-year directors to exam-
ine the relation of script requirements to the development of production style and to
acting processes. Special emphasis is placed on verse drama. Stan Wojewodski, Jr.
DRAM 124a/b, Introduction to Lighting Design. See description under Design.
DRAM 13oa/b, Third-Year Directing. A seminar for third-year directors. Major
emphasis is placed on the further development of interpretive skill through close read-
ing and research, and stylistic orchestration of one’s reading of a play in production. Plays
and landmark productions from the twentieth-century avant-garde are the course texts.
Students’ own production strategies for these works are argued and defended in weekly
sessions. Liz Diamond.
DRAM 14oa/b,The Director’s Thesis. The primary project of the third year in direct-
ing is the thesis, a full production of a major work of classical or contemporary dramatic
literature, or a new work, to be chosen in consultation with the department chair. The
written component of the thesis is a production casebook documenting the student’s
Directing 31
preparation, rehearsal, and postproduction evaluation of the thesis production. Consul-
tation hours with the adviser to be arranged throughout the year. Adviser arranged in
consultation with the department chair.
DRAM 148a/b, Music and Sound for the Theater. See description under Sound
Design.
DRAM
191b, Managing the Production Process. See description under Theater
Management.
DRAM
2o3a, Acting II.
DRAM 261a/b, Management Seminar. See description under Theater Management.
DRAM 3o6a/b, Issues in Theory: From Drama to Performance. See description under
Dramaturgy and Dramatic Criticism.
[
DRAM 316a/b, Theater History. See description under Dramaturgy and Dramatic
Criticism. Not offered in 2001–2002.]
DRAM 33oa/b, Directing Practicum. A workshop for directors who work with resident
directors and faculty to explore in practical terms issues addressed in the directing semi-
nars. David Chambers, Liz Diamond, Stan Wojewodski, Jr.
DRAM 63ob, Directing and Acting for Nonmajors. This course is a practical study of
selective examples of nonlinear plays in terms of their acting and directing values. This
course is open only to School of Drama students not enrolled in the acting and directing
programs. Liz Diamond.
design (m.f.a. and certificate)
The purpose of the Design department is to develop theater artists who are masterful
designers in set, costume, lighting, and sound for the theater. The department encour-
ages students to discover their own process of formulating design ideas, to develop a dis-
criminating standard for their own endeavors, and above all to prepare for a creative and
meaningful professional life in the broad range of theater activities.
In the belief that theater is a collaborative art, it is hoped that through their Yale expe-
rience design students discover a true sense of joy in working with other people, espe-
cially directors, and realize the excitement of evolving a production through the process
of collaboration.
Finally, the department endeavors to create an atmosphere conducive to creative
experimentation, tempered by unafraid criticism and disciplined study.
Theater is an act of transformation, and for designers it is the transformation of words
into visual and musical imagery. Set, costume, and, to a certain extent, lighting designers
must have the capacity for visual expression, with its foundation set firmly in the ability
to draw and sketch clearly and expressively. Drawing is not merely a technique for pre-
sentation; it is the language that reveals one’s thoughts, and thus creates a dialogue
32 School of Drama
among the director, the designers, and their colleagues. Through drawing, one observes
and records one’s world. Drawing informs and clarifies one’s vision and is an integral part
of the formulation of a design. Drawing should be as natural to the visual designer as
speaking; therefore, to keep their drawing skills honed, all set, costume, and lighting
design students are required to take a weekly life drawing class offered by the department.
Students are admitted to the program on the basis of their artistic abilities as shown in
their portfolios, as well as their commitment to the theater and their ability to articulate
their ideas verbally.
The student’s training is accomplished through a combination of classroom work and
production experience. It is understood that, with certain exceptions, students of visual
design will study scenic, costume, and lighting design in all three years. The culmination
of this training is the Master Class in Design, taken by all visual design students in the
third year, in which a number of unified projects and a thesis are presented to the com-
bined faculty in the course of two terms.
It is recognized that some students are stronger in some areas than they are in others
and allowance is made for this fact in production assignments. For the first year, and to a
limited extent in the second year, students are assigned to assist a designer without regard
to such strengths. When assignments are made as principal designer of one aspect of a
production, chiefly in the second and third years, such an assignment usually reflects the
student’s strengths and career expectations.
A limited number of students, interested principally in lighting design, are admitted
to the Design program. Such students, upon application, must demonstrate a fairly
strong ability to make visual presentations—though perhaps not with the proficiency of
students concentrating on set or costume.
Sound design students who are admitted into the Design program are also required
to take introductory visual design classes in an attempt to develop a common body of
knowledge within the entire design team, and to provide opportunities for all designers
to develop collaborative communication and presentation skills.
Plan of Study: Design
required sequence
Year Course Subject
I Drama 112a/b Scene Design: Background and Practice
Drama 114a/b Stagecraft for Designers
Drama 115a/b Costume Design: Background and Practice
Drama 122a/b Design Drafting
Drama 124a/b Introduction to Lighting Design (nonlighting
designers)
Drama 125a/b History of Costume and Costume Construction
Drama 134a/b Advanced Problems in Stage Lighting (lighting
designers only)
Drama 158a Introduction to Sound Design (lighting
designers only)
Design 33
Drama 162a/b Design Studio
Drama 189a Costume Production
Drama 289b Patternmaking (costume designers only)
Assignments as Assistant Designer
II Drama 6a/b Survey of Theater and Drama
Drama 132a/b Advanced Problems in Scene Design
Drama 134a/b Advanced Problems in Stage Lighting (except
lighting designers)
Drama 135a/b Advanced Problems in Costume Design (set and
costume designers only)
Drama 152a/b Scene Painting
Drama 158a Introduction to Sound Design (set and costume
designers only)
Drama 162a/b Design Studio
Drama 164a/b Professional Stage Lighting Design (lighting
designers only)
Drama 258a/b Advanced Problems in Sound Design (lighting
designers only)
Design assignments for School of Drama productions
Note: The student may, with faculty approval, elect not to take one of the
following: Drama 132a/b, 134a/b, or 135a/b.
III Drama 142a/b
Drama 145a/b
}
Master Class in Design
Drama 154a/b
Drama 162a/b Design Studio
Drama 174a/b Advanced Professional Stage Lighting Design
(lighting designers only)
One two-term elective
Design assignments for School of Drama productions;
possible design projects for the Yale Repertory Theatre
Thesis Project A comprehensive design project incorporating
scenery, costumes, and lighting for a production
Courses of Instruction
DRAM 6a/b, Survey of Theater and Drama. See description under Dramaturgy and
Dramatic Criticism.
DRAM 1o2a/b, Scene Design. An introduction for all nondesign students to the aes-
thetics and the process of scenic design through critique and discussion of weekly proj-
34 School of Drama
ects. Emphasis is given to the examination of the text and the action of the play, the
formulation of design ideas, the visual expression of the ideas, and especially the collab-
oration with directors and all other designers. Three hours a week. Ming Cho Lee,
Michael Yeargan.
DRAM 112a/b, Scene Design: Background and Practice. An introductory course for
all designers in conjunction with 102a/b. Ming Cho Lee, Michael Yeargan.
DRAM 114a/b, Stagecraft for Designers. An introductory course for all first-year
designers in stagecraft and production techniques. Michael Yeargan.
DRAM 115a/b, Costume Design: Background and Practice. A review of the history
of civil costume and a study of the technique and practice of theatrical costume design
leading to the preparation of designs for productions and the carrying out of the designs
in actual costumes for the stage. Criticism of weekly sketch problems. Two hours a week.
Jane Greenwood.
DRAM
122a/b, Design Drafting. A course for designers in the techniques of preparing
a scene design for production in a shop. Drafting techniques, sheet layout, conventions,
and symbols are stressed. Two hours a week. Ming Cho Lee, Michael Yeargan.
DRAM 124a/b, Introduction to Lighting Design. An introduction for all nonlighting
design students to the aesthetics and the process of lighting design through weekly cri-
tique and discussion of theoretical and practical assignments. Emphasis is given to the
examination of the action of the play in relation to lighting, the formulation of design
ideas, the place of lighting in the overall production, and collaboration with directors,
set, costume, and sound designers. Stephen Strawbridge.
DRAM 125a/b, History of Costume and Costume Construction. A history of cos-
tume taught through the costume techniques of the period. The course includes lectures
and practical work. Permission of the instructor required. Jane Greenwood.
DRAM 132a/b, Advanced Problems in Scene Design. Criticism of design problems
for plays, musicals, ballet, and opera. This course continues the work started in Drama
112, carrying it a step further and focusing on design realization. Prerequisite: Drama
112a/b. Two hours a week. Ming Cho Lee.
DRAM 134a/b, Advanced Problems in Stage Lighting. A course intended to help the
student develop a sense of, and a facility with, light as an element in a production. Proj-
ects are prepared consistent with best professional practice. Prerequisites: Drama 124a/b
and permission of the instructor. Four hours a week. Jennifer Tipton.
DRAM 135a/b, Advanced Problems in Costume Design. Detailed practical experi-
ence in the preparation of costumes for the stage, including sketches for projected
designs and plans for their execution. Prerequisites: Drama 115a/b and Drama 125a/b.
Two hours a week. Jess Goldstein.
Design 35
DRAM 142a/b, 145a/b, 154a/b, Master Class in Design. Class required for third-year
students for the presentation and criticism of all the visual elements that comprise a com-
plete production. Each student presents several complete projects. One or two of these
projects may be designs for a production on the main stage or Repertory Theatre. Each
student must complete a final thesis that includes sketches or models of scenes, sketches
of costumes, lighting design, designer’s drafting, etc. Four hours a week. Faculty.
DRAM 152a/b, Scene Painting. A studio class in painting techniques. Problems in tex-
tures, materials, styles, to prepare students to execute their own and other designs. Three
hours a week. Ru-Jun Wang.
DRAM 158a, Introduction to Sound Design. Required for first-year lighting and
second-year costume and set designers. See description under Sound Design.
DRAM 158b, Sound Design: Background and Practice. See description under Sound
Design.
DRAM 162a/b, Design Studio. A course in figure drawing for design students. The
course is taken as training by students in every year. Three hours a week. Ru-Jun Wang.
DRAM 164a/b, Professional Stage Lighting Design. A course to prepare students for
the demanding artistic and practical situations to be faced in the professional theater.
Large-scale and somewhat complex production problems, such as multiset plays, musi-
cal comedies, operas, ballets, and repertory situations may be addressed by students for
presentation and critique. Prerequisite: Drama 134a/b and permission of the instructor.
Two hours a week. Jennifer Tipton.
DRAM 174a/b, Advanced Professional Stage Lighting Design. An independent study
course concurrent with Drama 164a/b. Hours to be arranged with the instructor.
Jennifer Tipton.
DRAM 189a, Costume Production. See description under Technical Design and
Production.
DRAM 258a/b, Advanced Problems in Sound Design. See description under Sound
Design.
DRAM 289b, Patternmaking. See description under Technical Design and Production.
DRAM 63ob, Directing and Acting for Nonmajors. See description under Directing.
sound design (m.f.a. and certificate)
The Sound Design concentration offered under the Design department was developed
to train students in the theory and practice of professional theatrical sound design. The
course work covers the aesthetics of design and composition, script interpretation, criti-
cal listening, professional collaboration, sound and music technology, aural imaging,
acoustics, digital audio production, advanced sound delivery systems, drafting, and orga-
nizational paperwork.
36 School of Drama
Plan of Study: Sound Design
required sequence
Year Course Subject
I Drama 6a/b Survey of Theater and Drama
Drama 112a/b Scene Design: Background and Practice*
Drama 119b Electricity
Drama 124a/b Introduction to Lighting Design*
Drama 138a/b Production Sound Design Technology
Drama 158a Introduction to Sound Design
Drama 158b Sound Design: Background and Practice
Drama 198a Design Drafting and Production Organization
Sound Seminar
Two terms of elective courses in music
Three production assignments assisting sound designers
II Drama 115a/b Costume Design: Background and Practice*
Drama 148a/b Music and Sound for the Theater
Drama 258a/b Advanced Problems in Sound Design
Sound Seminar
Two terms of elective courses in music
Two terms of general electives
Three production assignments: sound designs
III Drama 358a/b Sound Design Thesis Review
Drama 368a/b Master Class in Sound Design
Sound Seminar
Full production thesis
One term of elective course in music
Two terms of general electives
Three production assignments: sound designs
elective sequence
The elective sequence is determined in consultation with a department adviser. Students
should complete five terms of music classes and six terms of general electives. Nonmusic
electives may include Drama 141b, Law and the Arts; Drama 319a, Electronics; Drama
339a, Architectural Acoustics; Drama 366b, Modern American Drama; Drama 369b,
Stage Rigging Techniques; Drama 630b, Directing and Acting for Nonmajors.
Sound Design 37
* Drama 112a/115a/124a are required courses; Drama 112b/115b/124b are electives. Both terms are recommended
for sound designers.
Courses of Instruction
DRAM 6a/b, Survey of Theater and Drama. See description under Dramaturgy and
Dramatic Criticism.
DRAM
112a/b, Scene Design: Background and Practice. See description under
Design.
DRAM
115a/b, Costume Design: Background and Practice. See description under
Design.
DRAM
119b, Electricity. See description under Technical Design and Production.
DRAM 124a/b, Introduction to Lighting Design. See description under Design.
DRAM 138a/b, Production Sound Design Technology. This intensive yearlong
course covers the fundamentals of sound and music technology for studio production
and professional sound delivery systems. The course consists of lectures and practical
assignments. Students learn the physical aspects of sound, stereophonic imaging, ele-
ments of psychoacoustics, microphone theory and application, loudspeaker theory and
application, audio control systems, delay-based effects processors, and professional pro-
duction studio technique and practice. The course progresses to cover music production,
digital audio workstations,
MIDI, digital sampling, playback automation, advanced dig-
ital signal processing, equalization techniques, time delay theory and practice, surround-
sound techniques, aural imaging, audio sound reinforcement theory and practice, power
amplifiers, loads, circuiting, and radio frequency (
RF) microphone theory and practice.
Required for all sound designers. The class meets for three hours a week plus practicals
and additional modules of study. Robert Miller.
DRAM 141b, Law and the Arts. See description under Theater Management.
DRAM 148a/b, Music and Sound for the Theater. This workshop provides a labora-
tory for creating and realizing music and sound for the theater. A primary objective is the
development of a strong and dynamic relationship between the director, composer,
and/or sound designer. Through a series of projects based on scripts and themes, partic-
ipants explore the vast potential of designed sound while building an aural vocabulary
and a critical ear. One and one-half hours a week. David Budries.
DRAM 158a, Introduction to Sound Design. This course introduces students to the
use of designed sound and music in theater. It is required for first-year lighting and sound
designers as well as second-year costume and set designers. Using scripts, practical exam-
ples, and current production assignments, students develop an understanding about how
sound and music can be used effectively as a tool to enhance meaning in a play. Students
develop analysis techniques and critical listening skills and learn terms used to describe
the theatrical perception and presentation of sound and music. Two hours a week. David
Budries.
DRAM 158b, Sound Design: Background and Practice. This course is an elective for
set, costume, and lighting designers, but it is required for sound designers. It builds on
38 School of Drama
the previous term by exploring practical approaches to designing sound, including aural
vocabulary, aural perspective and context, psychoacoustics, production values in music,
historical references, underscoring, sound props, schematic block diagrams, system
hookups, cue lists, cue building practicum, and the development of the aural imagery.
Two hours a week. David Budries.
DRAM
198a, Design Drafting and Production Organization. This course prepares
students to execute all necessary production paperwork including: cue sheets, schematic
block diagrams, ground plans and sections, rack drawings, shop orders,
RF assignments
and schedules, budgets, and production archives. One and one-half hours a week. David
Budries, Robert Miller.
DRAM 258a/b, Advanced Problems in Sound Design. This course is required for all
sound designers. It provides a deeper exploration of sound as a design element, focusing
on design realization and developing aural imagination. Students are assigned creative
exercises, scene analysis, and practical problems, which are presented and critiqued
during class time. The objective is to develop creative solutions to a variety of artistic and
practical (electro-acoustical and mechanical) problems and to gain experience and
confidence in the discussion of design concepts and aesthetics in front of a group. Two
hours a week. David Budries.
DRAM 319a, Electronics. See description under Technical Design and Production.
DRAM 339a, Architectural Acoustics. See description under Technical Design and
Production.
DRAM 358a/b, Sound Design Thesis. This time is devoted to development and exe-
cution of the third-year thesis project. Students discuss their proposals and current thesis
work in great detail. All drawings and written and aural examples are discussed and cri-
tiqued. One and one-half hours a week. David Budries.
DRAM 366b, Modern American Drama. See description under Dramaturgy and Dra-
matic Criticism.
DRAM 368a/b, Master Class in Sound Design. This class is devoted to reviewing and
critiquing production (non-thesis) designs and assigned plays for second- and third-year
students. Additional design work is selected by the students or assigned by the instruc-
tor. All elements of design work are discussed and critiqued. Practical production prob-
lems are presented for discussion. Two hours a week. David Budries.
DRAM 369b, Stage Rigging Techniques. See description under Technical Design and
Production.
DRAM 468a/b, Independent Study in Sound Design. The student who desires to
pursue a specialized course of study in the area of Sound Design may elect an indepen-
dent study. A proposal might focus on a guided research project, artistic exploration, or
advanced audio technology. Proposals must be submitted and department approval must
be obtained prior to enrollment for credit. Subsequent to enrollment, the student must
Sound Design 39
meet with the project adviser to plan an appropriate course of action and discuss assess-
ment. Credit is awarded by the department based on the project adviser’s recommenda-
tion in consultation with any other assigned advisers/tutors. Progress meetings to be
scheduled regularly. David Budries.
Sound Seminar. These regular meetings are required for all sound designers and open
to all others interested in an open discussion about sound design issues. The class fea-
tures visits from guest artists (designers, composers, directors, engineers, and consul-
tants) and visits to various productions. Time to be determined each term. David Budries
and guests.
dramaturgy and dramatic criticism
(m.f.a. and d.f.a.)
Students in this program receive intensive training to prepare for careers in three areas:
to work in theaters as dramaturgs and in related positions; to work in theater publishing
as critics and editors as well as in other capacities; to teach theater as practitioners, crit-
ics, and scholars.
At the core of the training are seminars in literature, theory and criticism, and history
offered by the department’s faculty. These may be supplemented by courses taught else-
where in the University if approved by students’ advisers. The aim is to impart a com-
prehensive knowledge of theater and dramatic literature—a knowledge necessary to the
dramaturg, the writer and editor, and the teacher. Regarding the latter, every effort is
made to give qualified students teaching experience within the University.
Of particular importance in the program are the criticism workshops, which are
taught by various members of the faculty and which students must take in each of their
six terms. These courses are designed to improve skills in thinking and writing, and are
essential in the evaluation of students’ progress from term to term.
Historically, the Yale School of Drama has been a pioneer in this country in intro-
ducing and establishing the dramaturg as an essential presence in the creation of theater
and as a key member of a theater’s staff. Under the supervision of the resident dramaturg
of the Yale Repertory Theatre, students are assigned to work on many varied produc-
tions, including those of new scripts by Drama School playwrights, workshops and full
productions by Drama School directors, and professional presentations of classical and
contemporary works by
YRT itself. Among the areas in which students participate are
text preparation and oversight; translation and adaptation; preproduction and rehearsal
work on issues of design, direction, and performance; contextual research; program and
study guide notes and preparation; conducting audience discussions; and related work in
conjunction with the marketing and media departments. Students also assist in the Yale
Repertory Theatre’s literary office with script evaluation and communication with writ-
ers and agents. Thus students are trained both as institutional dramaturgs, collaborating
on the formulation of artistic policy and its communication and implementation, and as
production dramaturgs, operating within the rehearsal process.
40 School of Drama
In recognition of the fact that in recent years dramaturgs have not only assumed the
leadership of theaters under such titles as artistic and producing director but have also
founded theaters themselves, students have the opportunity to take courses offered by
the Theater Management department. By encouraging this interchange, the School of
Drama hopes to remain at the forefront in helping new organizational models to be
discovered and explored, through which the art of theater will continue to flourish.
In addition to their training in production dramaturgy, students have opportunities to
develop as writers, editors, and translators through their work with Theater magazine,
published three times annually by the Yale School of Drama/Yale Repertory Theatre.
Theater has been publishing new writing by and about contemporary theater artists
since 1969. The magazine’s perspectives are different from those of any other American
publication: at once practical, creative, and scholarly. Issues include new plays, transla-
tions, and adaptations; lively critical debates about policy, politics, and productions;
interviews with writers, directors, and other artists; reports from around the world; and
book and performance reviews. Theater appeals to practitioners, academics, scholars, and
everyone interested in contemporary theater practice and thought.
Requirements for the
M.F.A. and D.F.A. degrees are discussed more fully in the fol-
lowing pages.
Quality Standards
The minimum quality requirement for the M.F.A. degree in Dramaturgy is a grade aver-
age of High Pass in all required courses and electives counting toward the degree.
Plan of Study: Dramaturgy and Dramatic Criticism
required sequence
Year Course Subject
I Drama 47a/b Playwrights’ Workshop
Drama 50a The Collaborative Process
Drama 96a/b Principles of Dramaturgy
Drama 106a Theater Magazine Workshop
Drama 166a/b Criticism Workshop
Drama 306a/b Issues in Theory: From Drama to Performance
Drama 346a/b Literary Office Practicum
At least two elective courses after consultation with adviser
At least two production dramaturgy assignments
II Drama 47b Playwrights’ Workshop
Drama 166a/b Criticism Workshop
Drama 246a/b Translation and Adaptation
Drama 306a/b Issues in Theory: From Drama to Performance
Drama 346a/b Literary Office Practicum
At least three elective courses after consultation with adviser
At least two production dramaturgy assignments
Dramaturgy and Dramatic Criticism 41
III Drama 47a Playwrights’ Workshop
Drama 166a/b Criticism Workshop
Drama 306a/b Issues in Theory: From Drama to Performance
Drama 336a/b Comprehensive Examinations
Drama 346a/b Literary Office Practicum
At least two elective courses after consultation with adviser
At least one production dramaturgy assignment
Additional Requirements for the Degree
reading list and basic knowledge of the field
On acceptance to the program, students receive a departmental reading list of dramatic
literature, criticism, theory, and history, which is intended to be used throughout their
course of study as a basis for preparation for their comprehensive examinations, and
beyond as a guide and standard for their work in the field.
dramaturgical assignments
Each student serves as a dramaturg on two or more productions per year either at the
Yale Repertory Theatre or in the School of Drama and assists the resident dramaturg in
script evaluation and related tasks. During the first year, students are assigned to a proj-
ect in The Collaborative Process (Drama 50a). In the second term, students may be
assigned to a collaborative workshop project and may also work on other plays under the
supervision of the resident dramaturg. In the second year, students may be assigned to a
verse project (see Directing department, Second-Year Directing, Drama 120a/b). In the
second and third years, students may undertake a project at the Yale Repertory Theatre
or a third-year director’s thesis production (see Directing department, The Director’s
Thesis, Drama 140a/b).
Students may work on School of Drama productions and Yale Repertory Theatre
productions subject to availability of projects and departmental requirements.
Students are encouraged to work as dramaturgs at the Yale Cabaret (which mounts
weekly productions), but this participation is extracurricular and in addition to required
dramaturgy assignments. All dramaturgy students must obtain written permission from
their advisers in order to participate in the Cabaret, and no student with a course grade
of Incomplete may take part in a Cabaret production.
yale repertory theatre literary office
Each student is required to read at least eight scripts for the Yale Repertory Theatre
during each year and to submit written evaluations of these scripts to the resident dra-
maturg. This work is done under the supervision of the literary associate, who is an
advanced student in the program.
theater magazine requirement
During the first year, Dramaturgy and Dramatic Criticism students are required to work
as editorial assistants on Theater, the international scholarly and critical journal co-
42 School of Drama
published by the School of Drama and Duke University Press. Students in their first year
must also take the Theater Magazine Workshop (Drama 106a), taught by the editor,
which introduces them to major aspects of publishing such a journal. In the second and
third years, qualified students may have additional opportunities to work on the maga-
zine’s staff in a variety of editing, publishing, and marketing positions. Along with essays,
reviews, and translations by leading scholars and professional critics, Theater has fre-
quently published outstanding work by Dramaturgy and Dramatic Criticism students,
who are encouraged to propose and submit writing and editorial projects for possible
publication.
language requirement
The language requirement is satisfied during the second year by the translation of a play
submitted and accepted in Translation and Adaptation (Drama 246a/b). Students who
wish to pursue a special emphasis in translation may take this course again in their third
year with the approval of their advisers and the course instructor.
library orientation
Upon entering the program, each student is required to take an orientation seminar
introducing him or her to the Yale University Library and its various facilities and
resources.
comprehensive examination requirement
All third-year students are required to write three comprehensive examinations followed
by an oral examination on the three comprehensive topics. Students must follow the
schedule indicated below.
By the beginning of the 2001 fall term, third-year students must have made significant
progress in studying for their comprehensive examinations. By September 15, 2001, they
should have met with their advisers to discuss the progress of their work and to schedule
their fall-term examinations. Students must take one examination during the fall term
but may choose to take two. If the choice is two, the first must be completed by October
22, 2001. All fall-term examinations must be completed by November 19, 2001. If the stu-
dent is taking two examinations during the spring term, the first must be completed by
February 11, 2002. All comprehensive examinations must be completed by April 8, 2002.
All oral examinations must be completed by May 3, 2002. Delays in this schedule may
result in a student’s not graduating at the end of the 2002 spring term.
Second-year students are required to decide upon three comprehensive topics and
submit this decision in the form of a memorandum to the six members of the Faculty
Comprehensive and Thesis Committee by February 11, 2002. This memorandum must
be the result of a lengthy and intensive series of discussions with advisers and other
appropriate faculty members.
After the initial proposal has been approved and there has been further thought and
discussion with advisers and other faculty concerning recommended revisions, the full
proposal, along with a bibliography, must be submitted for faculty approval by February
Dramaturgy and Dramatic Criticism 43
25, 2002. After more discussion and revisions, the final proposal must be submitted by
April 15, 2002. Following approval, students are responsible for meeting with advisers
and other faculty to arrive at a schedule for comprehensive examination study.
Comprehensive topics must be chosen in a way that demonstrates a student’s mastery
of the field. The basic guide for arriving at and studying for comprehensive examinations
should be the most recent version of the departmental reading list.
Areas of study may include major historical periods, e.g., Greek, Jacobean, French
seventeenth century, modern, contemporary; important dramatists or other figures, e.g.,
Aristotle, Artaud, Euripides, Shakespeare, Shaw; basic dramatic genres, e.g., tragedy,
comedy, melodrama; significant theoretically or critically defined movements or other
designations, e.g., romanticism, postmodernism, feminism, Marxism. Other broad areas
may be devised as well, but only in consultation with the faculty. In choosing topics, care
must be taken not to overlap or duplicate subject matter, thus limiting the range of
the examination. Euripides and Greek tragedy are unacceptable as two separate topics,
for example, as are Meyerhold and Russian modernism. It is required that at least one of
the topics be chosen from the modern or contemporary era (approximately 1880 to the
present).
The comprehensives are a final qualifying examination in which the student demon-
strates the ability to bring a critical depth and dramaturgical perspective to broad areas.
In these examinations, the student is responsible for mastery of material whether or not
it has been covered in course work. The student must demonstrate a level of unques-
tioned excellence in the examinations in order to be recommended for a degree.
Written comprehensive examinations are followed by oral defenses administered by
the faculty. The written examinations consist of two essays on each topic. A day is
devoted to each topic. The oral defense consists of a thorough review and questioning of
all topics on the written comprehensives. It is a single examination lasting for no more
than two hours and may not be scheduled sooner than ten days after the student’s last
written examination.
Upon completion of the written comprehensives, if the faculty concludes that the stu-
dent is in danger of not passing, he or she will be informed in writing at least one week
after the last written examination. The student will also be informed of the major areas
of deficiency. In such a case, the oral examination becomes an opportunity for the stu-
dent to overcome the deficiencies of the written comprehensives and to demonstrate
mastery in the chosen area.
Grades for the comprehensive examinations are Honors, High Pass, Pass, or Fail. A
student who fails one or more comprehensives and/or the oral will be allowed to retake
the failed examination(s) once more during the following year. Should the student fail
the second time, he or she will not be awarded a degree.
It should be noted that a grade of Pass on the comprehensives requires not simply
minimal competence but a level of excellence. It is expected that during the three years
of study, the student will, through both formal courses and his or her own program of
reading, master the literature of drama, theater, theory, and criticism sufficiently to
assume the function of dramaturg, critic, or teacher with scholarly as well as critical
authority.
44 School of Drama
Requirements for the Doctor of Fine Arts in Dramaturgy and Dramatic
Criticism
Upon completion of the Dramaturgy and Dramatic Criticism program requirements for
an
M.F.A. degree and graduation from the School of Drama, a student is eligible to reg-
ister as a Doctor of Fine Arts (
D.F.A.) candidate. There are no additional course require-
ments, although students may audit courses as described below.
To qualify for the
D.F.A. degree, the student must first submit a proposal for a written
dissertation no later than the first day of classes in the spring term of his or her first reg-
istration year. Upon acceptance of the proposal by the
D.F.A. Committee, the student will
be expected to complete the dissertation within two years, working in close consultation
with an assigned adviser, and also with a second reader who need not be a member of the
department. In exceptional circumstances an extension of no more than one year may be
granted to candidates who submit a written request. Throughout these procedures and
consultations, the candidate must not assume that the conferral of a
D.F.A. degree is an
entitlement. Upon the committee’s final approval of the dissertation, one bound copy
must be delivered to the chair of the Department of Dramaturgy and Dramatic Criticism
six weeks prior to the date on which the student expects to graduate. A copy of the dis-
sertation guidelines is available through the department.
The
D.F.A. candidate may elect to register as a full-time student in residence to pursue
work on the dissertation. The tuition fee for this status is
$1,000 per year in residence and
entitles the candidate to use libraries and related facilities, to audit courses related to his
or her research, to health plan coverage, and to eligibility for tickets to School and
Repertory Theatre productions. In the first year of candidacy, the student may apply to
the associate dean for administration for a fellowship to cover tuition.
Courses of Instruction
DRAM 6a/b, Survey of Theater and Drama. A lecture course examining major figures
and works, intellectual, social, and cultural contexts, dramatic movements, and theatri-
cal developments from the Greeks to the present. Bevya Rosten.
[
DRAM 26a/b, Dramatic Structure and Play Analysis. Central to this course are close
analytical readings of plays from the ancient period to the present. Basic aspects of
dramatic construction are examined, along with concepts such as tragedy, comedy, melo-
drama, farce, satire, tragicomedy, and romance. The continually changing relationship
between individuals and groups as reflected in dramaturgy is an important focus, as are
the influences of religion, philosophy, science, and the other arts. Not offered in 2001-
2002.]
DRAM 47a/b, Playwrights’ Workshop. Required for all Dramaturgy students. See
description under Playwriting.
DRAM 5oa, The Collaborative Process. See description under Directing.
DRAM 96a/b, Principles of Dramaturgy. A course that focuses on the historical emer-
gence and evolution of the dramaturg, as well as the principles governing the profession
Dramaturgy and Dramatic Criticism 45
and their practical application. Required for first-year dramaturgs; elective for others.
James Leverett, Catherine Sheehy.
DRAM 1o6a, Theater Magazine Workshop. This course combines the history of pub-
lishing with a workshop focusing on editing Theater magazine, involving the planning
of future issues and the completion of editorial assignments. Required for all first-year
Dramaturgy students. Erika Munk.
[
DRAM
116a, Ibsen in Context. This course explores Ibsen’s major plays in translation
with close examination of their poetic structures. Special attention is given to changing
critical views of Ibsen over the past century. The reading also includes contemporaneous
letters and diaries, as well as philosophical and critical texts of the period. Not offered in
2001–2002.]
[
DRAM 116b, Restoration and Post-Restoration Comedy. After the social and polit-
ical drudgery of Cromwell when the monarchy was restored with Charles
II, the theater
in England enjoyed a renaissance of license and vigor. After the Restoration, the gov-
ernment once again sought to constrain the ribaldry of the comic spirit and the lifestyle
of the stage. In this period the English added the comedy of manners, the sentimental
comedy and—that sapling of the American musical—the ballad opera to the comic
canon. The only thing more vigorous than the theater was the talk of theater; journals
and coffeehouses were founded on such vital chat. This course surveys the formal inno-
vations of the period through the work of the age’s major authors from the Duke of Buck-
ingham through Gay and Fielding to Sheridan. Contextual readings bolster investiga-
tions of the Stage Licensing Act of 1727 and the coffeehouse phenomenon. Not offered
in 2001–2002.]
[
DRAM 126a, Tragicomedy. Tragicomedy has been characterized as the quintessential
form of modern drama, but its origins extend back to the beginnings of our theater. As a
genre, it provides an invaluable perspective from which to discuss many different kinds
of work, including some of the most complex, provocative, and resonant. To study it also
means to investigate other important concepts such as the romance, the pastoral, satire
and satyr play, the grotesque, the problem play—and, of course, tragedy and comedy.
Playwrights who might be considered come from every period and include Euripides,
Plautus, Shakespeare, Guarini, Beaumont and Fletcher, Molière, Marivaux, Kleist,
Musset, Büchner, Wedekind, Chekhov, Schnitzler, Witkiewicz, Lorca, O’Casey, Hor-
vath, Ghelderode, Gombrowicz, Ionesco, Beckett, Pinter, Kroetz, and Müller. Not
offered in 2001–2002.]
[
DRAM 126b, Dramatic Literature Seminar: George Bernard Shaw. A selective,
detailed study of Shaw’s plays, with sidelong glances at his prefaces and other writings,
such as drama and music criticism, letters, and essays. Discussion also includes some of
the major artistic-intellectual influences on Shaw (e.g., Shelley, Dickens, Marx, Mozart,
Wagner, Fabian Socialism) and Shaw’s influences on others. Not offered in 2001–2002.]
46 School of Drama
DRAM 136b, Dramatic Literature Seminar: Beckett. A detailed study of Beckett’s
plays and prose, including Beckett the critic on poets, painters, music, Proust, and per-
formance. Gordon Rogoff.
DRAM 146b, Performance Criticism. Good prose meets variable performance: the
quest for standards and vocabulary in the criticism of English language performance. A
seminar exploring the critical writings of nineteenth-century critics from Hazlitt to Shaw,
and twentieth-century critics from Beerbohm to Bentley and beyond. Gordon Rogoff.
[
DRAM 156a, American Classic Comedy Between the Wars. The classics of Ameri-
can comic canon are true reflections of the national character—a volatile compound of
twice-shy wariness and wide-eyed credulity. The continual fine-tuning of that character
is one of the chief dramaturgical strategies of comic writers in the period. And the
mother tongue is the sharpest tool they have in their kit. The American vernacular was
undergoing an unprecedented transformation: the jazzy argot of the journalist, the
snappy pitch of the Madison Avenue ad man, the idiosyncratic patois of the assimilating
immigrant, and the gaudy patter of the bootlegger infused the language. When the soar-
ing national confidence after victory in the Great War and a booming Jazz Age economy
buckled with the freefall of the Great Depression, another color was added. The best
comedy written for the stage and (after 1927) for the screen during the period exploits this
holiday time of the American tongue. The course focuses on the primacy of language in
the work of these American men and women of letters who wrote so well out of the sides
of their mouth. Not offered in 2001–2002.]
[
DRAM 156b, Shakespeare’s Tragic Modes. An intensive study of seven tragedies,
their performance history and criticism, along with major critical theories. The plays are
Hamlet, Othello, King Lear, Macbeth, Troilus and Cressida, Antony and Cleopatra, and Cori-
olanus. Not offered in 2001–2002.]
DRAM 166a/b, Criticism Workshop. A workshop in critical writing in which the stu-
dent’s work is analyzed and discussed by the class and the instructor. The class is divided
into sections. In the fall term of their first year, students take a workshop in reading and
writing about dramatic texts. Elinor Fuchs, Erika Munk, Marc Robinson, and Gordon
Rogoff.
[
DRAM 176a, Satire: From Aristophanes to Absolutely Fabulous. This course exam-
ines the genre so efficiently defined by George S. Kaufman. “Satire,” he said, “is what
closes on Saturday night.” The satirist is part artist, part social critic, unable to stem the
tide of outrage welling in his pen (or word processor). Beginning with Aristophanes, the
course wends its way through the works of Swift, Fielding, Hecht, Perlman, MacLeish,
Monty Python, Bulgakov, and Jennifer Saunders. Although the primary emphasis is, per-
force, on dramatic literature, the course also avails itself of other prose forms and video.
Not offered in 2001–2002.]
DRAM 176b, Queer Theory Meets Feminism in a Darkened Theater. In a darkened
classroom, students view screenings of performances and discuss them through the lens
Dramaturgy and Dramatic Criticism 47
of the day's readings in queer and feminist critical theory. In the spirit of the “literate per-
vert,” students learn how to read embodied performances paying special attention to
performance at the intersection of gender with sexuality, class, race, age, etc. Attendance
at some live performance also required. Kate Davy.
[
DRAM 186a, Theater about Theater: The Theatricalist Play from Shakespeare to
Postmodernism. “Theatricalist” is a term describing plays that self-consciously use
the means of theater in their dramatic construction. This type of play, along with its near
relative, the Dream Play, traces its origin more to Plato than to Aristotle, and poses an
alternative to the tradition of theater as representation. The seminar traces the Theatrum
Mundi tradition in Western theater from Kyd and Shakespeare to Calderón and the
German Romantics. Half the course is devoted to the twentieth century, taking up such
themes as theatricalism and revolution, gender, race, and the Holocaust. Among modern-
period playwrights we read plays of Evreinov, Pirandello, Adrienne Kennedy, Peter Barnes,
Heiner Müller, Griselda Gambaro, and Suzan-Lori Parks. Not offered in 2001–2002.]
[
DRAM 186b, German Drama. This course covers what has been called the “German
Moment” in world theater, that is, the period approximately encompassed by the life of
Johann Wolfgang von Goethe (1749–1832). It includes work by Lessing, Lenz, Goethe,
Schiller, Tieck, Kleist, Grillparzer, Hebbel, and Büchner, and explores such concepts as
classicism (including Weimar classicism), romanticism, and the Sturm und Drang. The-
ater production practice, acting, historical and philosophical context, and the other arts
are also part of the discussion. Not offered in 2001–2002.]
[
DRAM 196a, Brecht and After. Ten years after the fall of the Berlin Wall, how can we
best understand theater’s most important writer of and about political performance? A
close exploration of Brecht’s plays in their historical and aesthetic context from Weimar
to 1956, with attention to poetry and music as well as epic theory. Readings include
Brecht’s critics from Walter Benjamin to Fredric Jameson; the course ends with an
overview of leftist dramaturgy since Brecht’s death, including the work of Edward Bond,
Caryl Churchill, Augusto Boal, and various activist theaters. Not offered in 2001–2002.]
DRAM 2o6a/b, Tutorial Study. A second- or third-year dramaturg may elect to under-
take tutorial independent study by submitting, in consultation with his or her proposed
tutor, a request stipulating course title, course description, reading list or syllabus, sched-
ule of meetings with the tutor, and method of grading the tutorial. Approval must be
granted by the student’s adviser and by the department. Forms for application are avail-
able from the registrar of the School of Drama. Faculty.
DRAM 216a,Three Seasons: The Literature of the Rep and School. This class looks
at the plays of the current Yale Rep season, third-year director’s theses, and verse pro-
jects. While only the Rep consciously creates a “season,” this class examines how these
three groups of plays interact as well as how they operate distinctly, in order to come to
an understanding of the dynamics of a season or cycle. Individual texts are examined
from such different aspects as their place in their authors’ body of work and in the dra-
48 School of Drama
matic canon; their historical and critical contexts; the dramaturgical strategies their
authors employ, and the implications for production or performance of those strategies;
text preparation, production history, and other issues associated with the preproduction
process. Catherine Sheehy.
[
DRAM 216b, Falstaff, Shylock, Bottom, and Others. A study of Shakespeare’s comic
modes and characters, ranging through histories, problem plays, romances, tragedies,
and even some comedies. Falstaff, however, will cast his shadow—and glow—over the
entire proceedings. Not offered in 2001–2002.]
[
DRAM
226a/b, Shakespearean Comedy and Drama. An intensive seminar that
explores selected plays by Shakespeare and major critical theories and background mate-
rial on Elizabethan and Jacobean drama. Not offered in 2001–2002.]
[
DRAM 236b, Opera as Drama. A study of lyric drama and its vocabulary, with central
emphasis on plays transformed into musical settings. Among the playwrights turned by
librettists and composers into operatic sources are Euripides, Sophocles, Beaumarchais,
Shakespeare, Schiller, Sardou, Maeterlinck, and Büchner; composers are Gluck, Cheru-
bini, Mozart, Verdi, Puccini, Wagner, Strauss, Debussy, Alban Berg, Benjamin Britten,
and Aribert Reimann. Production choices from the eighteenth century to Robert Wilson
are also examined, along with a study of operatic components from the aria and ensem-
ble to the chorus and orchestra. Musical proficiency not required. Not offered in
2001–2002.]
DRAM 246a/b, Translation and Adaptation. This seminar explores the process of
adapting and/or translating a play augmented by practical assignments, culminating in
the translation of a foreign play. Required for second-year dramaturgs, and may be
repeated as an elective in the third year with the permission of the student’s adviser and
the course instructor. James Magruder.
[
DRAM 276a, Greek Drama. This course focuses primarily on Greek tragedy, consid-
ering the most important plays by Aeschylus, Sophocles, and Euripides, as well as two
comedies by Aristophanes. In addition to studying the plays, we read some modern crit-
ical essays. The emphasis is on locating the dramas in terms of their cultural context
including mythic and epic background, Athenian history, and dramatic conventions. The
course work consists of participation in discussion, several short (two-page) papers, and
one slightly longer paper (five to ten pages) and a class presentation at the end of the
term. Not offered in 2001–2002.]
[
DRAM 276b, Euripides and Aristophanes. Euripides and Aristophanes are often
depicted as a study in contrasts, both ethically and aesthetically. In this view the trage-
dian represents the new and the unorthodox, while the comic poet promotes traditional
values. Even in ancient times, however, it was recognized that the two writers had a great
deal in common, so much so, in fact, that another comic poet, Kratinos, coined the verb
“euripidaristophanize” to describe their shared poetic practice. This course examines the
plays of Euripides and Aristophanes in tandem, concentrating on features such as parody,
Dramaturgy and Dramatic Criticism 49
self-referentiality, and meta-theatricality. The readings consist of the plays in translation
and selected modern critical essays. Not offered in 2001–2002.]
[
DRAM 286a, The First Avant-Garde, 188o–1918. This course explores the roots of
European theatrical modernism in such movements as naturalism, symbolism, expres-
sionism, and futurism. Among the writers whose texts are read are Hauptmann, Ibsen
(the symbolist), Chekhov (the symbolist), Strindberg (the symbolist and expressionist),
Wilde, Yeats, Maeterlinck, Jarry, Wedekind, and Kraus. Innovations in direction, design,
and theory are also investigated, as well as the general social, political, and philosophical
background of the period. Not offered in 2001–2002.]
[
DRAM 286b, The Second Avant-Garde, 1918–1939. This course is a sequel to
Drama 286a but one is not required to take the other. Writers whose works are explored
include Brecht, Toller, Bulgakov, Horvath, Pirandello, Artaud, Ghelderode, and
Witkiewicz. As with the previous course, contemporary direction, design, and theory are
examined along with the larger background of the period. Not offered in 2001–2002.]
DRAM 296b, The Third Avant-Garde, 194o–1969. This course is the third in the
avant-garde sequence, but Drama 286a and 286b are not prerequisites. In this course,
there are three geographic areas of focus: Mediterranean (Sartre, Camus, Ionesco,
Genet, Arrabal, et al.); Germanic (Dürrenmatt, Frisch, Handke, Weiss, Müller, et al.);
Eastern European (Mrozek, Gombrowicz, Rozewicz, Havel, et al.). Attention is paid to
the political, social, and philosophical background of the period, developments in the
other arts, and the work of significant theater directors. James Leverett.
DRAM 3o6a, Issues in Theory: From Drama to Performance. This course follows the
contentious 2,400-year discussion with Aristotle that constitutes the core of Western
dramatic theory. In addition to Aristotle, we read others who concerned themselves with
the form and function of drama: Horace, the French classicists, enlightenment theorists,
the romantics, Hegel, Nietzsche, and modern anti-Aristotelians—all with constant ref-
erence to artistic practice. Elinor Fuchs.
DRAM 3o6b, Issues in Theory: From Drama to Performance. In a stunning reversal
of priorities, theorists of the dramatic text gave way in the twentieth century to theorists
of theater and performance from Stanislavski to Artaud and Brecht, Grotowski, Brook,
and Foreman. We read some classic non-Western theorists of performance, and a range
of postmodern theorists of identity and culture—again, all with constant reference to
artistic practice. Elinor Fuchs.
[
DRAM 316a,Theater History. A seminar on the revival of ancient drama in the courts
and academies of early modern Italy, the flowering of vernacular comedy in popular
culture, the emergence of public theaters in England and Spain, the transnational mise
en scène of the baroque, and neoclassicism from Paris to Weimar. Not offered in
2001–2002.]
50 School of Drama
[DRAM 316b, Theater History. A seminar on the romantic revival of medieval forms,
the Gothic, and Orientalism; developments in theatrical architecture and technology,
romantic and realistic acting, popular entertainments and spectacles; theater in Ameri-
can memory, from minstrelsy to modernism. Not offered in 2001–2002.]
[
DRAM 326a, British Postwar Drama: 1945 to the Present. An intensive seminar that
explores the works written by selected American and British playwrights from the end of
World War II to the present. Not offered in 2001–2002.]
DRAM
336a/b, Comprehensive Examinations. Students submit comprehensive pro-
posals to their advisers and other designated faculty members who help them to focus
their areas of concentration and prepare bibliographies. In this way, the faculty oversees
the course of study for the comprehensives. This tutorial is an essential part of the pro-
cedure leading to an
M.F.A. degree. James Leverett and faculty.
DRAM
346a/b, Literary Office Practicum. Among the most important responsibili-
ties of an institutional dramaturg is the evaluation of new writing. The dramaturg’s abil-
ity to analyze and assess the potential of unproduced work is crucial to a theater’s vital-
ity. In the Literary Office Practicum students in all three years read work submitted for
the Yale Repertory Theatre and write reader’s reports articulating the scripts’ strengths
and weaknesses. These reader’s reports provide the basis for the Literary Office’s com-
munication with playwrights. This course, led by the resident dramaturg, is Pass/Fail.
Catherine Sheehy.
DRAM 356a, Melodrama. “Melodrama is not a special and marginal kind of drama, let
alone an eccentric or decadent one; it is drama in its elemental form; it is the quintes-
sence of drama.” This statement by Eric Bentley provides the cornerstone for this
course. The approach is threefold: melodrama as a ubiquitous dramatic impulse from
the earliest times (Euripides, medieval theater, Shakespeare and his contemporaries);
melodrama as an expression of society—a basic element of popular art (essential steps
in the democratization of theater in Europe and the United States include the offi-
cial beginnings of melodrama in the eighteenth century, its flowering in the nineteenth,
and its role in the birth of cinema); melodrama as a form explored and exploited by
theater innovators in this century (politically radicalized by Brecht and others; radically
formalized by the surrealists and Richard Foreman, among others). James Leverett.
[
DRAM 366a, Contemporary American Drama. A seminar on American drama from
1960 to the present. Among the playwrights to be considered are Albee, Shepard, Kennedy,
Baraka, Fornes, Mamet, Guare, Ludlam, and Shawn. Not offered in 2001–2002.]
DRAM 366b, Modern American Drama. A seminar on American drama from World
War I to 1960. Among the playwrights to be considered are O’Neill, Stein, Cummings,
Odets, Wilder, Hughes, Williams, Bowles, and Miller. Marc Robinson.
[
DRAM 376b, The American Avant-Garde. Topics include the Living Theater, Hap-
penings, Cunningham/Cage, Open Theater, Judson Dance Theater, Grand Union,
Dramaturgy and Dramatic Criticism 51
Bread and Puppet Theater, Performance Group, Ontological-Hysteric Theater, Mere-
dith Monk, Robert Wilson, Mabou Mines, and the Wooster Group. Not offered in
2001–2002.]
[
DRAM 386b, American Drama to 1914. Topics include the European inheritance,
theater and nation-building, melodrama and the rise of realism, popular and nonliterary
forms. Readings in Tyler, Dunlap, Aiken, Boucicault, Daly, Herne, Mitchell, Moody,
Fitch, and Crothers, among others. Not offered in 2001–2002].
[
DRAM
396a, Film for Theater People. The premise of this course is the belief that
film and theater are now inseparably linked, aesthetically speaking, and that one
art influences the other. Each week a feature film is shown as an example of the way that
cinematic imagination and style are related to theater, and vice versa. Each film is preceded
by comment and, as time allows, is followed by discussion. Not offered in 2001–2002.]
[
DRAM 4o6b, Principles of Asian Theater. Throughout this century, theatrical
theorists and directors in the West, including Yeats, Craig, Meyerhold, Artaud, Brecht,
Brook, Barba, Grotowski, Wilson, Schechner, and Breuer, have been strongly influenced
by encounters with Asian theater. This course examines some of the underlying aesthetic
principles in selected forms of traditional theater from India, Iran, Indonesia, Japan, and
China, as well as applications of these principles in contemporary practice, East and
West. Classes include extensive use of slides and videotapes. Not offered in 2001–2002.]
DRAM 63ob, Directing and Acting for Nonmajors. See description under Directing.
Students may elect to take appropriate graduate courses in other schools and depart-
ments at Yale, subject to permission of the instructor, scheduling limitations, and the
approval of the faculty adviser.
playwriting (m.f.a. and certificate)
The Playwriting program is eager to locate gifted writers and to identify and strengthen
the power of their unique artistic voices through a concentrated three-year program.
Toward this end, playwriting students are introduced to a wide variety of artistic sources
that include classical and contemporary plays, novels, short stories, poetry, essays, visual
art, music, and film. Through this exposure, students discover alternate creative strate-
gies that can lead them to new forms of theatrical expression.
Innovative dramaturgy techniques are discussed, offering a wide spectrum of
approaches for the creation and development of dramatic action, characters, and lan-
guage, both spoken and gestural. The playwrights also are encouraged to question and
shape their work through a series of writing exercises, readings, workshops, internships,
and, in selected cases, full productions in collaboration with student directors, actors,
dramaturgs, and designers. An integral part of students’ training and growth as artists is
also the observing and offering of constructive commentary on the development of other
students’ scripts.
52 School of Drama
Play scripts are presented in classes within the Playwriting program. Drafts of scripts
are read in the Playwrights’ Laboratory (Drama 17a/b); student scripts are also given
readings with student actors, directors, and dramaturgs in the Playwrights’ Workshop
(Drama 47a/b); on further revision and the approval of the chair of the program, the
plays are given workshop productions in the student’s first and second years and a thesis
production in the student’s third year. Other potential venues for the student’s plays are
the Cabaret and the Yale Repertory Theatre.
The second- and third-year playwrights participate in a unique exchange program,
Yale Playwrights at New Dramatists. The Yale Playwriting department and New Drama-
tists expose the playwriting students to a professional theater environment that serves as
an artistic home, theater research and development center, and writer’s colony for our
national theater community. The program is an extension of the student’s training and
course work and offers each a monthly playwriting workshop with selected New Drama-
tists playwrights and attendance at monthly readings at New Dramatists in the second year,
the establishment of a professional relationship with a New Dramatists playwriting
mentor, and a professional reading in the third year at New Dramatists in New York City.
The third-year students have their plays read as part of the Yale Playwrights at New
Dramatists Playreading Festival, which features readings before an invited audience of
prominent artistic directors, dramaturgs, agents, and New Dramatists playwright mem-
bers. After the readings, the playwrights continue to have a series of follow-up meetings
with their mentors. These meetings concentrate on an evaluation of the readings and
future development of the plays. Finally, the mentors and Yale faculty offer the play-
wrights critical guidance, helping them to identify and develop short- and long-range
goals as they begin to focus their energies as emerging professional writers.
The Master of Fine Arts degree, or a Certificate in Drama, is awarded for a body of
work which is ready for professional production and for significant progress in the devel-
opment of playwriting skills.
All those enrolled in the School of Drama are required to maintain full-time resi-
dency unless specific authorization is given for off-campus work. To playwrights this
means that no commissions, contracts, or non-School workshops or productions are per-
mitted during the academic year unless authorized in writing by the department chair
and the dean.
Plan of Study: Playwriting
required sequence
Year Course Subject
I Drama 7a/b Playwriting I
Drama 17a/b Playwrights’ Laboratory: Textual Analysis
Drama 47a/b Playwrights’ Workshop
Drama 57a/b Playwriting Tutorial
Drama 77a/b Professional Seminars
Drama 102a Scene Design
Drama 306a/b Issues in Theory: From Drama to Performance
One elective in another discipline second term
Playwriting 53
II Drama 17a/b Playwrights’ Laboratory: Textual Analysis
Drama 27a/b Playwriting II
Drama 47a/b Playwrights’ Workshop
Drama 57a/b Playwriting Tutorial
Drama 77a/b Professional Seminars
Drama 117a/b Yale Playwrights at New Dramatists Workshops
Drama 246a/b Translation and Adaptation
Drama 306a/b Issues in Theory: From Drama to Performance
Two electives in another discipline
III Drama 17a/b Playwrights’ Laboratory: Textual Analysis
Drama 37a Playwriting III: Screenwriting
Drama 37b Playwriting III: The Playwright Prepares
Drama 47a/b Playwrights’ Workshop
Drama 57a/b Playwriting Tutorial
Drama 77a/b Professional Seminars
Drama 127a/b Yale Playwrights at New Dramatists Playreading
Festival
Drama 217a/b The Playwright’s Thesis
One elective in another discipline
Courses of Instruction
DRAM 7a/b, Playwriting I. A required seminar for first-year playwrights: techniques of
playwriting are discussed, offering diverse approaches for the creation and shaping of
dramatic action, structure, characters, and language. The writing of a short play (due at
the end of the first term) and the completion of a first draft of a full-length script (due at
the end of the second term) are required. Mark Bly, Lynn Nottage.
DRAM 17a/b, Playwrights’ Laboratory: Textual Analysis. A required seminar for all
playwrights for the presentation and rigorous analysis of the students’ first drafts of their
stagework and screenplays. The class also reads and discusses new plays as well as articles
and interviews on contemporary playwriting. Visiting playwrights and dramaturgs share
their insights on writing and the American theater. Mark Bly.
[DRAM 26a/b, Dramatic Structure and Play Analysis. Required for all students. See
descriptions under Dramaturgy and Dramatic Criticism. Not offered in 2001–2002.]
DRAM 27a/b, Playwriting II. A required seminar for second-year playwrights. Classi-
cal and contemporary plays, novels, short stories, poetry, essays, visual art, and film are
encountered and discussed, provoking alternative creative strategies for theatrical
expression. The writing of a full-length play is required (due at the end of the second
term). Constance Congdon, Jeffrey Jones.
54 School of Drama
DRAM 37a, Playwriting III: Screenwriting.The playwrights discuss screenwriting
techniques, read and compare various drafts of selected screenplays, view selected films,
and create a screenplay for submission to a studio or producer. Required for third-year
playwrights. Eric Overmyer.
DRAM 37b, Playwriting III: The Playwright Prepares. This seminar focuses on
preparing the third-year playwrights for submitting their plays to theaters, film and tele-
vision studios, contests, and agents. Letters to agents, studios, and theaters are created;
submission plays are selected and developed; and discussions on appropriate theatrical,
film, and television venues are conducted with each student. Visiting agents, dramaturgs,
screenwriters, directors, designers, managing directors, film and television producers all
share their knowledge and interest in developing new work. Contemporary theater
issues are also discussed, particularly those related to the role of the playwright in our
society. Required for third-year playwrights. Mark Bly and guests.
DRAM 47a/b, Playwrights’ Workshop. The weekly rehearsal, presentation and
detailed discussion of a draft of a play through a reading with directing, acting, playwrit-
ing, and dramaturgy students participating in the event. The plays developed in this class
are subsequently produced in the Collaborative Workshop Project New Play Series and
the Third-Year Thesis Production. Required for all playwriting students. Mark Bly.
DRAM 57a/b, Playwriting Tutorial. A required weekly individual meeting for discus-
sion of writing progress, playwriting goals, and recommended reading that could
enhance and deepen the student’s growth as a writer. Mark Bly, Constance Congdon,
Jeffrey Jones, Ruth Margraff, Eric Overmyer.
DRAM 77a/b, Professional Seminars. Practicing playwrights offer special workshops,
exercises, and introduce the students to various dramatic writing techniques and theatri-
cal forms. These visiting playwrights also offer the students advice for submitting plays
to theaters, agents, and new play development organizations. Kia Corthron, Nilo Cruz,
Len Jenkin, Matthew McGuire, Tim Blake Nelson, Diana Son.
DRAM 1o2a, Scene Design. Required for first-year playwrights. See description under
Design.
DRAM 117a/b, Yale Playwrights at New Dramatists Workshops. Required for
second-year playwrights. The students attend monthly workshops throughout the year
conducted by current New Dramatists playwrights. In preparation for each workshop,
the students read the workshop playwright’s plays and germane interviews or articles
about the playwright. After each workshop, the students also attend that evening a public
reading of a new play by another New Dramatists playwright who is in residence. Mark
Bly, Melissa Kievman, Todd London, and selected New Dramatists playwrights.
DRAM 127a/b, Yale Playwrights at New Dramatists Playreading Festival. Required
for third-year playwrights. In the student’s third year, a professional reading is presented
Playwriting 55
at New Dramatists before an invited audience of artistic directors, dramaturgs, and
agents. The student is trained by Yale and New Dramatists staff in all aspects of a pro-
fessional reading: selection and editing of a script; working with a casting director; dis-
cussion of the play with the director and the playwriting mentor in preparation for the
reading; and the actual rehearsal process. Following the reading, the student meets with
his/her Yale adviser and the New Dramatists playwriting mentor to evaluate the reading
and future development of the script. The Yale adviser and mentors also offer the play-
wrights critical guidance, helping them to identify and develop short- and long-range
goals as they begin to focus their energies as emerging professional writers. Mark Bly,
Melissa Kievman, Todd London, and selected New Dramatists Playwrights.
DRAM 137a/b, Independent Study. The playwriting student who wishes to pursue a
special course of study on a guided research project or an artistic project not covered by
existing formal courses may elect to take an independent study course. Subsequent
to enrollment, the playwriting student must meet with the project adviser to plan an
appropriate course of action. Proposals must be submitted and department approval by
the chair must be obtained prior to enrollment for credit. The student meets regularly
with the project adviser to discuss progress and to seek tutorial advice. Credit for the
course is awarded by the Playwriting department based on the project adviser’s recom-
mendation and the departmental review of a final report on the project. Weekly progress
meetings are scheduled. Mark Bly and faculty.
DRAM 217a/b, The Playwright’s Thesis. The main project of the third-year play-
wright is the creation of a full-length play, which is approved for a thesis production by
the department chair. Under the supervision of the department chair, the playwright
works closely with the director, designers, and dramaturg on the creation of a stage pro-
duction. The student also creates a production casebook documenting the student’s writ-
ing process, prerehearsal and design phase, and rehearsal and postproduction evaluation
of the thesis project. The department chair and student arrange consultation times for an
ongoing discussion throughout the year focusing on the project’s evolution. Mark Bly.
DRAM 246a/b, Translation and Adaptation. A required course for second-year
playwrights and preferred elective for third-year playwrights. See description under
Dramaturgy and Dramatic Criticism.
DRAM 3o6a/b, Issues in Theory: From Drama to Performance. Required for first-
and second-year playwrights. See description under Dramaturgy and Dramatic Criti-
cism.
[
DRAM 316a/b, Theater History. Required for all playwrights. See description under
Dramaturgy and Dramatic Criticism. Not offered in 2001–2002.]
DRAM 63ob, Directing and Acting for Nonmajors. A preferred elective for play-
wrights. See description under Directing.
56 School of Drama
technical design and production
(m.f.a. and certificate)
Contemporary theater design and production practices are profoundly influenced by the
technology and economics of our age. The diverse aesthetics and the increasingly com-
plex electronic and mechanical components now being used in the performing arts point
up the need for professionals who can understand and apply these technologies to the
achievement of artistic goals. The department seeks well-educated and highly motivated
students who will best be able to use the resources of the School of Drama, the Reper-
tory Theatre, and Yale University to expand their professional abilities and deepen their
professional interests in theater and the performing arts.
This interdisciplinary program provides academic and practical training for profes-
sionals who can perform with excellence in producing organizations, consulting firms,
manufacturing companies, and universities. The exceptional placement record of grad-
uates who have trained in the unique situation offered by the School of Drama/Reper-
tory Theatre emphasizes the career value of the graduate program.
Each student is expected to complete a sequence of required courses that stress
the knowledge of physical and social sciences needed to apply technology effectively
to the performing arts. Concurrent with the required sequence, each student enrolls
in an elective sequence of courses leading to a concentration in Technical Direction,
Production Management, Stage Machinery Design and Automation, or Theater Plan-
ning and Consulting. Degree candidates also prepare a research thesis in their chosen
area of concentration.
American theater is no longer a centralized commercial structure. Technical man-
agers must command a wide range of skills, knowledge, and diversity, requiring extensive
training in the many disciplines that now comprise theater technology. The department
has a faculty and staff of thirty. Special seminars and guest lectures by noted profession-
als are also conducted on a regular basis. The courses offered within the department
cover a wide range of topics, including production management, lighting and sound
technology, electronics, mechanical design, structural design, acoustics, theater plan-
ning, computer applications, show control, Auto
CAD, and technical writing. Students
are encouraged to supplement their curriculum by selecting courses from other depart-
ments of the School of Drama as well as other schools or departments of Yale University
including Architecture, Engineering, and Management.
Students are expected to develop effective application of their studies through produc-
tion assignments at the School of Drama and the Repertory Theatre. School assignments
allow initial experimentation and development. Assignments with the Repertory Theatre
and its production staff serve to integrate proficiency in a professional environment.
Technical Design and Production 57
Plan of Study: Technical Design and Production
required sequence
Year Course Subject
I Drama 6a/b Survey of Theater and Drama
Drama 109a/b Structural Design for the Stage
Drama 119b Electricity
Drama 139b Introduction to Sound Engineering and Design
Drama 149a Production Planning
Drama 159a Theater Safety
Drama 169a Shop Technology
Drama 179b Computer Applications for the Technical Manager
Drama 199a Production Drafting
Two terms of elective sequence courses
Three production assignments
II Drama 209a Physics of Stage Machinery
Drama 249b Technical Management
Drama 269b Technical Design
Drama 299a Technical Writing and Research
Seven terms of elective sequence courses
Three production assignments
III Drama 349a Production Management: Organization
and Administration
Drama 399b Technical Design and Production Thesis
Five terms of elective sequence courses
* Two production assignments
Elective Sequence
The elective sequence is determined in consultation with a department adviser and
allows each student reasonable flexibility in selecting specific courses in a chosen area of
concentration.
Courses of Instruction
DRAM 6a/b, Survey of Theater and Drama. See description under Dramaturgy and
Dramatic Criticism.
DRAM 69a, Welding Technology. A course teaching the fundamentals and applications
of all electric arc welding techniques (
TIG, MIG, STICK) as well as brazing and solder-
ing. Emphasis is on welding practice of metals including: steel, aluminum, brass, copper,
etc.; joining dissimilar metals; fixturing; and evaluating the appropriate process for an
58 School of Drama
* Second- or third-year students may request the substitution of a substantial project for one production assignment.
application. The majority of class time is spent welding, brazing, or soldering. Six stu-
dents maximum. Seven hours a week. David Johnson.
DRAM 69b, Mechanical Instrumentation. A course geared for both the arts and sci-
ences that goes beyond a basic introductory shop course, offering an in-depth study uti-
lizing hands-on instructional techniques. Surface finishes and tolerances versus cost and
time, blueprint reading, machineability of materials, feeds and speeds, and grinding of
tools are discussed and demonstrated. Four hours a week. David Johnson.
DRAM
89a, Costume Construction. A course in costume construction for designers
and technicians with hands-on practice in both machine and hand sewing. Various forms
of patterning (draping, flat drafting, etc.) are also covered. Advanced students may elect
to undertake patterning and construction projects using the School of Drama’s antique
costume collection. Robin Hirsch.
DRAM 99a/b, Internship Practicum. Interns are required to successfully complete two
terms of practicum in their selected area of concentration. Thirty hours a week. Area
supervisor.
DRAM 1o9a/b, Structural Design for the Stage. This course concurrently develops
the precalculus mathematics and physical sciences requisite for advanced study in modern
theater technology, and concentrates on the application of statics to the design of safe
scenic structures. Assignments relate basic principles to technical production applica-
tions. Two hours a week. Bronislaw Sammler.
DRAM 119b, Electricity. This course presents the basic theoretical and practical optics,
electricity, and electronics of lighting instruments, dimmers, projectors, and special effects
needed to function as a master electrician. Emphasis is placed on relevant portions of the
National Electrical Code. Two hours a week. Alan Hendrickson.
DRAM 129b, History of Theater Architecture. Mainly a survey of European and
American theater architecture as it relates to cultural and technological changes through
time, this course uses the writings of current and past authorities on such subjects as
acoustics, space layout, and decoration to illustrate and evaluate these buildings’ many
variations. Two hours a week. Alan Hendrickson.
DRAM 139b, Introduction to Sound Engineering and Design. This course provides
students with the basic skills and vocabulary necessary to perform as sound engineers and
sound designers. Students are introduced to standard sound design practice, associated
paperwork for implementation, production design tools, acoustic assessment tools, and
sound delivery systems addressing both conceptual and sound reinforcement design.
This is accomplished through practical assignments, production reviews, and conceptual
design projects. Three hours a week. Robert Miller.
DRAM 149a, Production Planning. An introduction to production planning. Topics
include cost and time estimating, scheduling, and purchasing for all phases of produc-
tion. One and one-half hours a week. Bronislaw Sammler.
Technical Design and Production 59
DRAM 159a,Theater Safety. An introduction to theater safety and occupational health.
Topics include chemical and fire hazards, accident and fire prevention, code require-
ments, emergency procedures, and training and certification in first aid and
CPR. One
and one-half hours a week. William Reynolds.
DRAM 169a, Shop Technology. This class serves as an introduction to the scene shops
and technology available at the School. Traditional and modern materials, construction
tools and techniques, and shop organization and management are examined in the con-
text of scenic production. Class projects are tailored to each student’s needs. Three hours
a week plus a three-hour lab. Neil Mulligan.
DRAM 179b, Computer Applications for the Technical Manager. This course pre-
pares students to apply the most appropriate software in undertaking common tasks in
technical management. Focusing on pre-workstation applications, the course develops
proficiency in spreadsheet, word processing, and database development. As time allows,
it also offers exposure to Illustrator and desktop publishing applications. Though the
course aims at distinguishing among types of software, the following software titles are
featured: Microsoft Word; Excel; Access; Adobe Illustrator and Photoshop; Quark
XPress. Limited enrollment. Three and one-half hours a week. Don Harvey.
DRAM 189a, Costume Production. A course to examine the processes involved in the
realization of a complete set of costume designs, from the drawing board to the stage.
Focus is on shop organization and the functions of the designer, assistant designer, and
costume production staff, with emphasis on budgeting, scheduling, fabrics, tools, and
equipment. Two hours a week. Tom McAlister.
DRAM 199a, Production Drafting. This course develops the skills necessary for effec-
tive and efficient graphic communication between the technical designer and shop staff.
Emphasis is placed on graphic standards, notation, plan and section drawings, and the
translation of designer plates to shop drawings. Students develop these techniques
through sketching, applying the fundamental aspects of
AUTOCAD R14, and a series of
projects executed under classroom supervision. Three and one-half hours a week. Neil
Mulligan.
DRAM 2o9a, Physics of Stage Machinery. This course introduces Newtonian mechan-
ics as an aid in predicting the behavior of moving scenery. Theoretical performance cal-
culations are developed to approximate the actual performance of stage machinery.
Topics include electric motors, gearing, friction, and ergonomics. Two hours a week.
Alan Hendrickson.
DRAM 2o9b, Fluid Power and Stage Machinery Control. Discussions of concepts and
components begun in Drama 209a are continued for pneumatics and hydraulics. The last
third of the course covers the theory behind applications of analog and digital machine
control systems. Topics include limit switches, relay logic, the programmable logic con-
troller (
PLC), and the Goddard Design Company’s analog feedback position controller.
Two hours a week. Alan Hendrickson.
60 School of Drama
[DRAM 229a, Theater Planning and Construction. This course introduces the
process of planning and building a performing arts facility. Emphasis is placed on the
planning process as practiced in architecture, with stress on space allocation, budgeting,
functional layout, and construction procedures. The course also surveys the standard
phases of architectural planning, bidding and project management, construction, build-
ing and fire code requirements, and the effect of architectural design considerations on
performing arts facility design. Two hours a week. Not offered in 2001–2002.]
DRAM 249b, Technical Management. Applications of management techniques and
organizational principles to technical production. Emphasis is placed on leadership and
interpersonal skills as well as on organization, planning, and facilities utilization. Assign-
ments provide further exploration of related topics in the form of written and/or pre-
sented material. Two hours a week. William Reynolds.
DRAM 269b, Technical Design. This course examines the technical design process in
the development of solutions to scenery construction problems. Solutions, utilizing tra-
ditional and modern materials and fabrication techniques, are studied from the aspects
of budget, safety, and structural integrity. Three hours a week. Bronislaw Sammler.
[DRAM 279a, Advanced AutoCAD. An in-depth study of AutoCAD leading to greater
productivity with the software. Proficiency in 2-
D drafting and 3-D modeling and draft-
ing as they apply to technical design is developed through project work. Additional topics
include the Auto
CAD database, customizing the drafting environment, hardware issues,
and related software packages. Prerequisite: Drama 199a or permission of the instructor.
Four hours a week. Not offered in 2001–2002.]
DRAM 289b, Patternmaking. This class is an exploration of costume history through
the three-dimensional form. Each week students drape and/or draft a garment from a
specific period from primitive
“T” shapes to mid-twentieth-century patterns. Robin
Hirsch.
DRAM 299a, Technical Writing and Research. Research and coherent writing tech-
niques are reviewed and practiced to develop a command of prose as a means of techni-
cal exposition and commentary. Students complete several comparative assignments to
assist them in thesis preparation and write at least one article for the Technical Brief pub-
lication. Three hours a week. Don Harvey.
DRAM 3o9a, Mechanical Design for Theater Applications. This course focuses on
the process of mechanical design for temporary and permanent stage machinery. Design
considerations and component selections are examined through lectures, discussions,
assignments, and project reviews. Other topics include motion control, fluid power cir-
cuit design, and industrial standards. Three hours a week. Alan Hendrickson.
DRAM 319a, Electronics. The basic theory and practice of analog and digital electronic
circuits are studied in an intensive laboratory situation. The course is designed to
demonstrate qualitative and limited mathematical approaches toward the solution of
Technical Design and Production 61
simple circuit design and repair problems. Students wishing a rigorous engineering
approach should consider Electrical Engineering 226a. Three and one-half hours a week.
Alan Hendrickson.
DRAM 329a, Theater Engineering: Planning and Design. This course examines the
process of programming and designing specialized theater equipment for performing
arts facilities. The process is applied to the design of stage lighting, stage rigging, sound
and communications, stage elevators, and auditorium seating. Beginning with initial
equipment budgeting, the course proceeds with schematic design layouts through to the
preparation of construction drawings and specifications. Typical project scenarios are
discussed and examined. Two hours a week. Todd Berling.
DRAM 339a, Architectural Acoustics. This course begins with a discussion of subjec-
tive responses to various sound stimuli. A knowledge of the relation between stimulus
and response leads to a study of room acoustics, which includes the analysis of sound
propagation, reflection, and absorption in enclosed spaces, as well as the design of such
spaces to achieve the prescribed acoustic objective, e.g., auditorium acoustics. Two hours
a week. Christopher Blair.
DRAM 349a, Production Management: Organization and Administration. This
course deals with the basic organizational structures found in not-for-profit and limited-
partnership commercial ventures. Students explore patterns of responsibility and
authority, various charts of accounts and fiscal controls, estimating techniques, budget-
ing, and scheduling. Discussions include variety of theatrical organizations, their artistic
policies, and different processes and products that result. Two hours a week. Rik Kaye.
DRAM 369b, Stage Rigging Techniques. This course introduces students to tradi-
tional and nontraditional rigging techniques used in proscenium and found spaces.
Equipment discussed includes counterweight and mechanical rigging systems and their
components. Class format is both lecture and lab with written and practical projects
assigned to further the student’s understanding. Four hours a week. Neil Mulligan.
DRAM 389a, Properties Design and Construction. Through lectures and demon-
strations, students study design, fabrication, and handling of stage properties. Assign-
ments encourage students to develop craft skills and to explore the application of tradi-
tional and new techniques to production practice. Three hours a week. Hunter Spence.
DRAM 389b, Mask: Design and Construction. A studio class exploring the problems
in designing and constructing masks for the stage. Students fabricate masks using mate-
rials such as celastic, latex, feathers, and fabrics. Three hours a week. Hunter Spence.
DRAM 399b, Technical Design and Production Thesis. Each student develops a
thesis dealing with a production or planning oriented subject. By the end of the second
year, a thesis proposal is submitted for departmental review. Following topic approval,
the thesis is researched under the guidance of an approved adviser, and a complete draft
is submitted five weeks prior to graduation. After revision and adviser’s approval, the
62 School of Drama
work is evaluated and critiqued by three independent readers. Following revisions and
departmental approval two bound copies are submitted. Two-hour advisory and tutorial
meetings every other week. Don Harvey.
DRAM 4o9a, Finite Element Analysis. Introduction to engineering analysis of struc-
tures as applied to theater design utilizing
PC-based finite element analysis methods.
Two hours a week. Chuck Adomanis.
[
DRAM
419b, Control Systems for Live Entertainment. The rapidly developing field
of “show control” is the focus of this course. Show control is the convergence of enter-
tainment, computing, networking, and data communications technologies. Topics covered
include basic data communications and networking principles; details of entertainment-
specific protocols such as
DMX512, MIDI, MIDI Show Control, MIDI Machine Control,
and
SMPTE Time Code; and practical applications and principles of system design. The
class includes hands-on demonstrations of the technologies discussed. Two hours a week.
Not offered in 2001–2002.]
[
DRAM 429b, Theater Planning Seminar. A continuation of Drama 229a and Drama
329a, concentrating on the restoration and renovation processes, and on design work by
teams of students. Several visiting lecturers join the class to discuss such specialized areas
as theater engineering, acoustical design, theater lighting systems, theater seating, archi-
tectural design, and the practice of theater consultation. Two hours a week. Not offered
in 2001–2002.]
DRAM 449a/b, Independent Study. The student who wants to pursue special research
or the study of topics not covered by formal courses may propose an independent study
following department approval of the topic. The student meets regularly with a project
adviser to discuss progress and to seek tutorial advice. Credit for independent study is
awarded by the department, based on the project adviser’s recommendation. Tutorial
meetings to be arranged. Faculty and staff.
[
DRAM 469a, Scenery Construction for the Commercial Theater. This course
examines construction techniques and working conditions existing in union scenic shops
servicing the Broadway theater industry. Class workshops include trips to several shops
in the New York area and backstage tours of the shows being discussed in class. An
important aspect of all assignments is an in-depth discussion of scenic construction
including the transition from designer’s drawings, construction in the scene shop, and
eventual set-up in the theater. Not offered in 2001–2002.]
technical internship program
(internship certificate)
The Technical Design and Production department offers a one-year technical internship
program for those seeking to become professional shop carpenters, sound technicians,
property masters, costumers, scene painters, or theater electricians. This training program
combines six graduate-level courses with closely guided and monitored practical work.
Technical Internship Program 63
An assigned faculty or staff adviser guides each student in selecting three courses each
term in a particular area of concentration. Most of the courses offered as part of the
department’s three-year
M.F.A. program are open to one-year technical interns. The
courses cover a wide range of topics, including properties construction, shop technology,
theater safety, electricity, sound technology, scene painting, costume construction, pat-
ternmaking, machining, rigging, and Auto
CAD. Interns receive individual attention,
training, and supervision from their department advisers and work side-by-side with the
Yale Repertory Theatre’s professional staff.
Those who successfully complete the program receive an Internship Certificate
during the School of Drama’s May commencement ceremonies. Some of those who
complete the program subsequently enroll in the three-year
M.F.A. program in Techni-
cal Design and Production, receiving credit toward the degree for requirements already
taken. Those who choose to enter the job market receive individual assistance from the
School of Drama Registrar’s Placement Service. Our alumni provide many job opportu-
nities for professionally trained theater technicians.
Courses of Instruction
See course listings and descriptions under Technical Design and Production (M.F.A. and
Certificate).
theater management (m.f.a.)
The Theater Management department seeks to provide its students with the overall
knowledge, skills, and judgment to advance to leadership positions in theater institu-
tions. The focus is on nonprofit theaters, although some students develop interests in the
commercial theater, film, and electronic media. Students interested in the management
of other performing arts organizations are also encouraged.
The Theater Management program combines a sequence of required courses with
professional work assignments. The specific courses are noted below. Adjustments in the
required courses will be made for those students interested in other performing arts
organizations.
Students are expected to function professionally on the administrative staff of the Yale
Repertory Theatre. In the first year, a student is given responsibility in a number of oper-
ating positions on a rotating basis. In the second year, the student normally is given one
term-long position of increased responsibility. One term of the second year may be spent
in a professional setting away from the campus, chosen according to the student’s needs
and career objectives. If there is no internship, course requirements will be increased
appropriately.
The final year of the program is designed to be a culmination of the student’s formal
education and to provide the student with a transition into the work force. The third-
year rotation assignment or case study is the single most important requirement for the
degree. Through the third-year rotation or case study, the faculty expect to see evidence
of strong leadership, managerial skills, and initiative. The requirement for the third year
is determined by the faculty on or about April 1 of the student’s second year.
64 School of Drama
The Theater Management department offers a four-year joint-degree (M.F.A./
M.B.A.) program with the School of Management. Details of the joint-degree program
and its requirements are available from the registrar.
Plan of Study: Theater Management
required sequence
Year Course Subject
I Drama 6a/b Survey of Theater and Drama
Drama 70a Stage Management for Theater Managers
Drama 111a/b American Theater Practice
Drama 131a Introduction to Marketing and Public Relations
Drama 131b Principles of Marketing
Drama 141b Law and the Arts
Drama 151b Information Architectures
Drama 161a Business Operating Systems
Drama 161b Principles of Development
Drama 171a Business Communications
Drama 181a Financial Accounting
Drama 181b Financial Management
Drama 191b Managing the Production Process
Drama 311a/b Management Issues Forum
II & III* Drama 201a Managing the Institutional Theater
Drama 211a Contracts
Drama 221b Labor and Employee Relations
Drama 241a Commercial Theater
Drama 261a/b Management Seminar
Drama 271b Advertising
Drama 281b Strategy†
Drama 291b Strategic Planning†
Drama 311a/b Management Issues Forum
Drama 321a The Artist in the Theater
Drama 349a Production Mangement: Organization and
Administration
In the second year a student enrolls in no more than three required departmental courses
in addition to Management Issues Forum during the term in residence. Second and
third-year students must enroll in at least five courses including Management Issues
Forum.
Courses of Instruction
DRAM 6a/b, Survey of Theater and Drama. See description under Dramaturgy and
Dramatic Criticism.
Theater Management 65
* Based on one term spent in an optional internship.
† May elect either course.
DRAM 7oa, Stage Management for Theater Managers. An introductory course in the
basic techniques and practices of stage management with emphasis on understanding
all functions of the stage manager, including his or her duties and responsibilities to the
production and to management, and how to establish solid working relationships for
the benefit of the production and organization. This course also presents an overview
of techniques and guidelines used when stage managing productions at the School of
Drama. Mary Hunter.
DRAM 111a/b, American Theater Practice. A survey of organizational practice in the
American professional theater. Starting from historic precedent, the course surveys the
commercial theater and the nonprofit theater as organizational models. Topics include
limited partnerships, nonprofit corporate structure, staff organization, and budgeting.
This course is a prerequisite for all other Theater Management courses. Benjamin Mordecai.
DRAM 131a, Introduction to Marketing and Public Relations. This course explores
the fundamentals of marketing and public relations in regional theater and the interrela-
tion of these two functions. It offers a practical guide to such marketing techniques as
planning subscription campaigns, writing advertising copy, managing telemarketing
campaigns, and targeting potential audiences. The basic tools of public relations are also
covered, including dealing with journalists, writing press releases, pitching feature sto-
ries, and managing photo calls. Roxanne Moffitt.
DRAM 131b, Principles of Marketing. Discussion of marketing issues in the nonprofit
and commercial theater. Prerequisite: Drama 131a. Benjamin Mordecai.
DRAM 141b, Law and the Arts. An examination of the legal rights and responsibilities
of artists and artistic institutions. Topics include the law of intellectual property (copy-
right and trademark), moral rights, personality rights (defamation, publicity, and pri-
vacy), and freedom of expression. The course is also an introduction to the structure and
language of contractual agreements, and includes discussion of several types of contracts
employed in the theater. Other legal issues relating to nonprofit arts organizations may
also be discussed. Joan Channick.
DRAM 151b, Information Architectures. An introduction to effective planning and
organization of information for use in Internet Web sites and databases. Students create
a personal Web site and a relational database as part of the course requirements. Class is
a combination of lecture and lab time. During lab sessions software is used to explore the
various methods of converting information for use on the Internet and in data structures.
Students are expected to have basic knowledge of the specific software packages prior to
lab sessions. Software used includes Netscape Composer, Photoshop, Quark, Microsoft
Excel, and Microsoft Access. Randall Rode.
DRAM 161a, Business Operating Systems. An introduction to the practical tools of
business management in the theater. Topics covered include legal forms of business,
budget planning, cash flows, payroll, personnel issues, tax compliance, and insurance.
Randall Rode.
66 School of Drama
DRAM 161b, Principles of Development. Structuring of development campaigns
including such topics as market segmentations, staffing, and campaign planning. The
seminar uses the Manhattan Theatre Club as a case study. Limited to first-year students.
Barry Grove, Andrew Hamingson.
DRAM
171a, Business Communications. Through a series of exercises in written and
oral communication, the course seeks to enhance students’ ability to express themselves
clearly and effectively. Victoria Nolan.
DRAM
181a, Financial Accounting. An introduction to corporate financial accounting
concepts and procedures. Financial statements are stressed throughout the course, while
attention is paid to developing procedural skills, including accounting controls. The
basic financial statements are introduced: balance sheet, income statement, statement of
cash flows, and statement of retained earnings. Accounting for assets, liabilities, and
owners’ equity. Jeffrey Bledsoe.
DRAM
181b, Financial Management. A study of the broad role of financial manage-
ment in the realization of organization goals. Topics include management control, resource
allocation, analysis, funds acquisition and management, and elementary investment
alternatives. Prerequisite: Drama 181a. Michael Ross.
DRAM
191b, Managing the Production Process. An investigation of the relationship
between the artistic director and the managing director. This course explores the role of
a managing director in the production process of regional theater, including season plan-
ning, artistic budgeting, contract negotiations, artist relationships, and production part-
nering. Victoria Nolan.
DRAM
2o1a, Managing the Institutional Theater. Using the regional theater’s model
of an artistic director and a managing director in partnership, this course explores their
relationship to the institution’s trustees, staff, and community. Victoria Nolan.
DRAM
211a, Contracts. A seminar on how to read, write, and administer individual
employment contracts. Harry Weintraub.
DRAM
221b, Labor and Employee Relations. An investigation of employee relations,
with emphasis on the collective bargaining process. Topics discussed include wages and
hours, personnel policy, grievances, negotiation of individual contracts, employment
discrimination, union negotiations, and contract administration. Admission to nonma-
jors by permission only. Harry Weintraub.
DRAM 231a, Advanced Topics in Development. This course focuses on strategic
planning and fundraising and the interrelations among trustees, leadership individuals,
and major corporations and foundations. Barbara Groves.
DRAM 241a, Commercial Theater. This seminar surveys the business aspects of
producing. Relationships examined include those with the author, director, cast, other
personnel, the theater owner, unions, and agents. Other topics include financing, tour-
ing, and press relations. Benjamin Mordecai.
Theater Management 67
[DRAM 251a, Advanced Financial Management. A study of the broad role of financial
management in the realization of organizational goals. Topics include management con-
trol, resource allocation, analysis, funds acquisition and management, and elementary
investment alternatives. Prerequisite: Drama 181a. Not offered in 2001–2002.]
[
DRAM 251b, Advanced Topics in Marketing. Marketing theory as a tool in the deliv-
ery of theater to an audience is explored. Marketing is examined as a function of all orga-
nizations involved in goods and services, and an effort is made to show the need for its
techniques in theater management. Topics include economics of marketing, consumer
behavior, matching of services with demand, efficient distribution, pricing, and effective
communications. Not offered in 2001–2002.]
DRAM 261a/b, Management Seminar. An upper-level seminar designed to integrate
skills and judgment through discussion of problems involved with institutional leader-
ship or production organization. Enrollment limited to third-year theater management
and directing students. Benjamin Mordecai.
DRAM 271b, Advertising. The elements of clear and persuasive communication
through paid ads in the print and broadcast media are explored. Topics include choice of
outlets, purchasing of space, size, placement, graphics, copy, and strategy. Nancy Coyne.
DRAM 281b, Strategy. Strategy is the match between a theater organization’s qualifica-
tions and the opportunities afforded by a changing environment. It provides a guide to
allocating human and financial capital when times are good, and to seeing opportunities
for progress when times are bad. In seven four-hour sessions consisting primarily of case
discussions, this course shows how to identify the organization’s mission, analyze its
internal and external environments, identify its strategy, resolve tensions between mis-
sion and strategy, analyze organizational culture, and adapt the culture in order to imple-
ment robust strategies. Edward Martenson.
[
DRAM 291b, Strategic Planning. Todd Haimes. Not offered in 2001–2002.]
DRAM 3o1a or b, Management Internship. One term of the second year may be spent
in a professional setting, chosen according to the students’ needs and objectives. Stu-
dents electing the internship are required to pay tuition to the School for the term and
receive appropriate credit for the internship work upon receipt of the supervisor’s writ-
ten evaluation.
DRAM 311a/b, Management Issues Forum. Roundtable discussions of current issues
in theater management, led by guest speakers or resident faculty. Required for all theater
management students in each term of the three years of the program. Faculty.
DRAM 321a, The Artist in the Theater. This course explores present-day working
conditions in the American theater from the perspective of actors, directors, designers,
and other artists. Alan Eisenberg.
DRAM 321b, Case Studies. Benjamin Mordecai.
68 School of Drama
DRAM 349a, Production Management: Organization and Administration. See
description under Technical Design and Production.
stage management (m.f.a.)
The Production Stage Management concentration, offered under the Theater Manage-
ment department, is designed to prepare qualified students for professional stage man-
agement positions. The department seeks well-educated and highly motivated students
who are able to use the resources of the School and the Repertory Theatre to expand
their professional abilities and deepen their interests in the theater.
A diversity of aesthetic sensibilities and the available technology of our age inform
contemporary theater production practice. The role of the production stage manager
requires a deep commitment to this artistic process and a fundamental desire to serve the
work through the creation of an environment in which artistic risks can be taken. The
position supports the creative process by recognizing the artistic goal of the director’s
vision, and communicating the needs of the production effectively to members of the
collaborative team in order to fulfill that vision. Through the stage managers it trains,
the School intends to sustain and advance the artistic quality of the American theater.
This rigorous interdisciplinary program provides academic and practical training for
professionals who want to excel in production organizations. The curriculum consists of
a balanced combination of courses in several departments to provide the scope of knowl-
edge necessary for stage managers. Students are also given production assignments, as
assistant stage managers and stage managers, with progressively increasing responsibil-
ity. Assignments range from School productions (including new works-in-progress and
student- or faculty-directed productions) to Yale Repertory Theatre productions. When
working at the Repertory Theatre, students are supervised by the professional Actors’
Equity Association resident stage manager.
The purpose of this program is to train highly qualified professionals. Students who
do not meet the demands of the program, either academically or professionally, will not
be allowed to continue.
Plan of Study: Stage Management
required sequence
Year Course Subject
I Drama 6a/b Survey of Theater and Drama
Drama 40a/b Stage Management
Drama 100a/b Stage Management Seminar
Drama 111a/b American Theater Practice
Drama 141b Law and the Arts
Drama 149a Production Planning
Drama 159a Theater Safety
Drama 191b Managing the Production Process
Drama 700a/b Stage Management Forum: The Artistic Process
Stage Management 69
II Drama 60a/b Advanced Stage Management
Drama 102a/b Scene Design
Drama 124a/b Introduction to Lighting Design
Drama 158a Introduction to Sound Design
Drama 158b Sound Design: Background and Practice
Drama 189a Costume Production
Drama 200a/b Stage Management Seminar
Drama 249b Technical Management
Drama 700a/b Stage Management Forum: The Artistic Process
III Drama 221b Labor and Employee Relations
Drama 241a Commercial Theater
Drama 300a/b Stage Management Seminar
Drama 321a The Artist in the Theater
Drama 349a Production Management: Organization
and Administration
Drama 400a/b Advanced Principles of Stage Management
Drama 500b The Stage Manager’s Thesis
Drama 700a/b Stage Management Forum: The Artistic Process
Suggested electives are Drama 179b, Computer Applications for the Technical Manager;
Drama 199a, Production Drafting; Drama 209a, Physics of Stage Machinery; Drama
209b, Fluid Power and Stage Machinery Control. The sequence of this curriculum is
subject to the course schedules of the various departments. The department chair may,
at his or her discretion, restructure an individual’s required curriculum to address any
deficiencies in that student’s training.
Courses of Instruction
DRAM 6a/b, Survey of Theater and Drama. See description under Dramaturgy and
Dramatic Criticism.
DRAM 4oa/b, Stage Management. An introductory course in the techniques and prac-
tice of stage management, including the organization and preparation of a production
book from rehearsal through the cueing of a production. The second term investigates
the relationship between the stage manager and the administrative staff, including the
managing director, general manager, press director, company manager, and house man-
ager; and the production staff, including the production manager, technical director,
props master, stage carpenter, costume shop manager, and wardrobe supervisor.
Required for first-year stage managers. Mary Hunter.
DRAM 6oa/b, Advanced Stage Management. An introduction to the Actors’ Equity
Association
LORT contract: practices and concerns. The emphasis of the class is on
practical use and application of the contract with particular focus on work rules. A brief
overview and comparison to other Equity contracts such as Production, Off-Broadway,
TYA, URTA, and Dinner Theater. An introduction to the field of opera, with emphasis
70 School of Drama
Stage Management 71
placed on the different preparation, rehearsal, and cueing techniques with particular
attention given to score reading. Also, an expansion on, and exploration of, the tech-
niques and practices introduced in Drama 40a/b. Karen Quisenberry.
DRAM 1ooa/b, 2ooa/b, 3ooa/b, Stage Management Seminar. This seminar sequence
provides a forum for discussion of the stage management aspects of the concurrent pro-
ductions at the School and the Repertory Theatre, and allows tutorial guidance for
students who are serving as stage managers and assistant stage managers for those pro-
ductions. Alternates with production reviews and seminar topics led by guest speakers
from the industry. Mary Hunter.
DRAM 1o2a/b, Scene Design. See description under Design.
DRAM 111a/b, American Theater Practice. See description under Theater Manage-
ment.
DRAM 124a/b, Introduction to Lighting Design. See description under Design.
DRAM 141b, Law and the Arts. See description under Theater Management.
DRAM 149a, Production Planning. See description under Technical Design and Pro-
duction.
DRAM 158a, Introduction to Sound Design. See description under Sound Design.
DRAM 158b, Sound Design: Background and Practice. See description under Sound
Design.
DRAM 159a, Theater Safety. See description under Technical Design and Production.
DRAM 179b, Computer Applications for the Technical Manager. See description
under Technical Design and Production.
DRAM 189a, Costume Production. See description under Technical Design and
Production.
DRAM 191b, Managing the Production Process. See description under Theater
Management.
DRAM 199a, Production Drafting. See description under Technical Design and Pro-
duction.
DRAM 2o9a, Physics of Stage Machinery. See description under Technical Design and
Production.
DRAM 2o9b, Fluid Power and Stage Machinery Control. See description under
Technical Design and Production.
DRAM 221b, Labor and Employee Relations. See description under Theater
Management.
DRAM 241a, Commercial Theater. See description under Theater Management.
DRAM 249b, Technical Management. See description under Technical Design and
Production.
DRAM 321a, The Artist in the Theater. See description under Theater Management.
DRAM 349a, Production Management: Organization and Administration. See
description under Technical Design and Production.
DRAM 4ooa/b, Advanced Principles of Stage Management. An investigation of the
development of interpersonal relationships and the negotiation of conflict resolutions in
the artistic process. Emphasis is also given to the
AEA Production and IATSE contracts,
and current conditions in the industry as a whole. Diane DiVita, Frank Hartenstein,
Anne Keefe.
DRAM 5oob, The Stage Manager’s Thesis. Each student must submit an appropriate
written or production thesis during the third year. Third-year students pursuing a pro-
duction thesis are responsible for three aspects in fulfilling the requirement: stage
manage a major production at the School or Repertory Theatre; prepare and submit the
production book; and write an approved Acting Edition of the production. Thesis pro-
duction work at the Repertory Theatre is assigned at the discretion of the department
chair.
Students pursuing a written thesis are required to research and critically analyze an
appropriate topic approved by the faculty supervisor. The document should show the
student’s mastery of critical thinking and writing as they pertain to some aspect of pro-
duction stage management. The proposed topic must be approved by the faculty no later
than the beginning of the third year. The thesis is then developed under the guidance of
an assigned faculty adviser. After revision and the adviser’s approval, the work must be
evaluated and critiqued by three approved independent readers. The final, bound edition
of the written thesis is considered by the faculty along with production work in deter-
mining whether a degree should be granted. Mary Hunter.
DRAM 7ooa/b, Stage Management Forum: The Artistic Process. An exploration of
the artistic process through workshops and roundtable discussions led by guest speakers
and resident faculty. Mary Hunter.
special student status
Each year, some students are admitted to the School as one-year special students in the
areas of Design; Sound Design; Dramaturgy and Dramatic Criticism; Technical Design
and Production; or Theater Management. These students are considered in residence on
a full-time basis and are not eligible for a degree or certificate. However, they may apply
to enter the degree program during their year of study. Special students who seek to
enter degree status must comply with regular application deadlines and other admission
requirements. The curriculum for special students is arranged in consultation with the
72 School of Drama
appropriate department chair. Tuition is the same as for degree candidates. Special stu-
dents requiring financial aid are urged to read the section on eligibility in the Financial
Aid section.
special research fellow status
Each year, a limited number of scholars is admitted to the School as one-year special
research fellows. These fellows are usually professionals in the field of theater from for-
eign countries who wish to pursue research and audit one or two courses a term within
the School. Tuition for these fellows is one-half that charged a full-time student. The
research and auditing of courses is arranged in consultation with the appropriate depart-
ment chair and the registrar.
Special Research Fellow Status 73
Tuition and General Expenses
The tuition fee for 2001–2002 is $17,120.* A reasonable estimate of costs to be incurred
by a student attending the School and living off campus in the 2001–2002 academic year
is between
$29,075 and $30,475. It includes:
Tuition (library, laboratory, gymnasium, health
and accident, and graduation fees) $17,120
Hospitalization fee 780
Books and supplies (estimated)
†
300–1,700
Estimated living expenses 10,620
Loan fees 255
Students who have completed the residence requirements but who wish to remain in
New Haven to work on their theses and to use University facilities are charged a resi-
dency fee of
$1,000 per year. This amount does not include the University Health Ser-
vices fee.
Students may receive a waiver of the
$780 hospitalization fee from the Yale Health Plan
upon evidence that they have valid and sufficient alternative hospitalization coverage.
A fee of
$10 is charged for late registration.
The living expenses estimate is based on the Bureau of Labor Statistics moderate
budget standard for this area. The Drama School also reviews the actual budgets each
year to verify that the living expense budget used is reasonable. Actual costs may vary
depending on the individual. As educational costs have risen consistently over the past
few years, it is safe to assume that costs for the 2002–2003 academic year will be higher.
general expenses
Housing
The Graduate Housing Office has dormitory and apartment units for a small number of
graduate and professional students. Approximate rates for 2001–2002 are: dormitory
(single) housing,
$4,022–4,782 per academic year; apartments (single and family hous-
ing),
$580–838 per month. The School of Drama will send the Graduate Housing
brochure and application after acceptance of the admission offer is received. The appli-
cation and your letter of acceptance may then be faxed to the appropriate department
noted below. The assignment process generally starts in mid- to late April after current
returning residents are offered renewals.
The Graduate Housing Office consists of two separate offices: the Graduate Dormi-
tory Office and the Graduate Apartment Office, both located within Helen Hadley Hall,
a graduate dormitory, at 420 Temple Street. Office hours are from 9 a.m. to 4 p.m.,
Monday through Friday. For facility descriptions, floor plans, and rates, visit the Grad-
* Tuition for students in the Technical Internship program and for Special Research Fellows is $8,560.
Tuition for
D.F.A. candidates in residence is $1,000.
† Costs vary from one department to another.
uate Housing Web site at http://www.yale.edu/graduatehousing/. For further informa-
tion on graduate dormitories, contact Beverly Whitney at 203.432.2167, fax 203.432.4578,
or beverly.whitney
@
yale.edu. For graduate apartment information, contactBetsy Rosen-
thal at 203.432.8270, fax 203.432.0177, or betsy.rosenthal
@
yale.edu.
The University’s Off-Campus Listing Service, limited to current or incoming
members of the Yale community, is located at 155 Whitney Avenue, 3d floor, and is
open from 8.30 a.m. to 3.30 p.m., Monday through Friday. The listings may also be
accessed from any computer at Yale through the intranet at http://www.yale.edu/
offcampuslisting/. Call 203.432.9756 to obtain the necessary passwords to access the
system from other areas.
Food Service
Yale Dining Services has tailored its services to meet the particular concerns of graduate
and professional school students by offering contract options for various meals. “Eli
Bucks,” a favorite choice based on declining points, are accepted in all campus locations
in lieu of cash. Whether residents or nonresidents of University housing, students are
invited to take advantage of Yale Dining Services.
The following dining areas and snack bars are available to students: Designer’s Alcove
at the A&A building; the dining room of the Kline Biology Tower; Donaldson Com-
mons at the School of Management; and Durfee’s, a convenience store, coffee, and sand-
wich shop. Students are also encouraged to dine in any of Yale’s residential college dining
rooms, where students without meal contracts may purchase “all-you-care-to-eat” meals
at fixed prices for breakfast, lunch, and dinner. Payment for these meals can be arranged
by securing a Yale charge account from the Office of Student Financial Services at 246
Church Street.
Inquiries concerning food services should be addressed to Yale Dining Services, 246
Church Street,
PO Box 208261, 246 Church Street, New Haven ct 06520-8261; tele-
phone 1.888.678.9837 (toll free), or 203.432.0420. It can also be found on the Web at
http://www.yale.edu/dining/.
student accounts and bills
Student accounts, billing, and related services are administered through the Office of
Student Financial Services, which is located at 246 Church Street. The telephone
number is 203.432.2700.
Yale Charge Account
Students who sign and return a Yale Charge Card Account Authorization form will be
able to charge designated optional items and services to their student accounts. Students
who want to charge toll calls made through the University’s telephone system to their
accounts must sign and return this Charge Card Account Authorization. The University
may withdraw this privilege from students who do not pay their monthly bills on a timely
basis. For more information, contact the Office of Student Financial Services at 246
Church Street,
PO Box 208232, New Haven ct 06520-8232; telephone, 203.432.2700;
fax, 203.432.7557; e-mail, sfs
@
yale.edu.
Tuition and General Expenses 75
Yale Payment Plan
The Yale Payment Plan is a payment service that allows students and their families to pay
tuition, room, and board in eleven or twelve equal monthly installments throughout the
year based on individual family budget requirements. It is administered for the Univer-
sity by Academic Management Services (
AMS). To enroll by telephone,call 800.635.0120.
The fee to cover administration of the plan is $50. The deadline for enrollment is June
22. Application forms will be mailed to all students. For additional information, please
contact
AMS at the number above or visit their Web site at http://www.amsweb.com/.
Bills
A student may not register for any term unless all bills due for that and for any prior term
are paid in full.
Bills for tuition, room, and board are mailed to the student during the first week of
July, due and payable by August 1 for the fall term; and during the first week of Novem-
ber, due and payable by December 1 for the spring term. The Office of Student Finan-
cial Services will impose a late charge if any part of the term bill, less Yale-administered
loans and scholarships that have been applied for on a timely basis, is not paid when due.
The late charge will be imposed as follows:
If fall-term payment in full is not received Late charge
by August 1
$110
by September 1 an additional 110
by October 1 an additional 110
If spring-term payment in full is not received Late charge
by December 1 $110
by January 2 an additional 110
by February 1 an additional 110
Nonpayment of bills and failure to complete and submit financial aid application
packages on a timely basis may result in the student’s involuntary withdrawal from the
University.
No degrees will be conferred and no transcripts will be furnished until all bills due the
University are paid in full. In addition, transcripts will not be furnished to any student or
former student who is in default on the payment of a student loan.
Charge for Returned Checks
A processing charge of $20 will be assessed for checks returned for any reason by the
bank on which they were drawn. In addition, the following penalties may apply if a check
is returned:
1. If the check was in payment of a term bill, a
$110 late fee will be charged for the period
the bill was unpaid.
76 School of Drama
2. If the check was in payment of a term bill to permit registration, the student’s regis-
tration may be revoked.
3. If the check was given in payment of an unpaid balance in order to receive a diploma,
the University may refer the account to an attorney for collection.
regulations on tuition rebates
of institutional charges
Due to changes in federal regulations governing the return of federal student aid (Title
IV
) funds for withdrawn students, the tuition rebate and refund policy has changed from
that of recent years. The following rules became effective on July 1, 2000.
1. For purposes of determining the refund of federal student aid funds, any student
who withdraws from Yale School of Drama for any reason during the first 60 per-
cent of the term will be subject to a pro rata schedule that will be used to determine
the amount of Title
IV funds a student has earned at the time of withdrawal. A stu-
dent who withdraws after the 60 percent point has earned 100 percent of the Title
IV funds. In 2001–2002, the last days for rebate are November 6 in the fall term
and April 2 in the spring term.
2. For purposes of determining the refund of institutional aid funds and for students
who have not received financial aid:
a. 100 percent of tuition will be rebated for withdrawals that occur on or before the
end of the first 10 percent of the term (September 15, 2001, in the fall term and
January 19, 2002, in the spring term).
b. A rebate of one-half (50 percent) of tuition will be granted for withdrawals that
occur after the first 10 percent but on or before the last day of the first quarter
of the term (October 1, 2001, in the fall term and February 7, 2002, in the spring
term).
c. A rebate of one-quarter (25 percent) of tuition will be granted for withdrawals
that occur after the first quarter of a term but on or before the day of midterm
(October 27, 2001, in the fall term and March 21, 2002, in the spring term).
d. Students who withdraw for any reason after midterm will not receive a rebate of
any portion of tuition.
3. The death of a student will cancel charges for tuition as of the date of death and
the Office of Student Financial Services will adjust the tuition on a pro rata basis.
4. If a student has received student loans or other forms of financial aid, rebates will
be refunded in the order prescribed by federal regulations; namely, first to the
Unsubsidized Federal Stafford and/or Subsidized Federal Stafford loans, if any;
then to the Federal Perkins loan; next to any other federal, state, private, or insti-
tutional scholarships and loans; and finally, any remaining balance to the student.
5. Loan recipients (Stafford, Perkins, or Yale Student Loan) who withdraw are
required to have an exit interview before leaving Yale and should contact the Stu-
dent Financial Services Center at 246 Church Street (203.432.2727) to determine
where the interview will be held. In all cases, written notification of withdrawal
must be received by the registrar within the time periods specified in order to be
eligible for a tuition refund.
Tuition and General Expenses 77
Financial Aid Policy
The School of Drama’s financial aid policy has been designed to ensure that, within the
School’s resources, no qualified student who is a citizen or permanent resident of the
United States will be denied the opportunity to attend Yale because the student and the
student’s family cannot, by reasonable efforts, provide the full costs.* For that reason,
financial aid at the School is awarded on the basis of need. Since financial aid awards are
made after a separate application each year, students who are found not to have financial
need for the first year may qualify for aid in a later year if their family’s financial circum-
stances change substantially. Furthermore, students not qualifying for traditional finan-
cial aid may be able to receive assistance through term-time employment and various
supplemental loan programs.
The problems of meeting the costs of a professional education are complex and can
be troublesome. Therefore, students and their parents are encouraged to discuss indi-
vidual questions with the financial aid officer either in person, by telephone, or by mail.
The financial aid officer of the School of Drama may be reached at 203.432.1540. The
School’s aim is to assist each student in solving problems of meeting the costs of a Yale
education, freeing the student to concentrate on professional pursuits.
statement on confidentiality
Requirements of the School’s need-blind admission policy as well as Yale’s Policy on Stu-
dent Records ensure the confidentiality of applicants’ and their families’ economic cir-
cumstances. Access to personally identifiable financial aid materials—including applica-
tions, financial aid transcripts, award letters, and loan applications—is limited to
financial aid office personnel and members of the Financial Aid Committee.
how awards are determined
The financial aid office makes awards that, when added to the funds that are expected
from students, their spouses, their families, and other available sources, should enable
students to meet the basic costs of attending Yale.
A financial aid award is determined by first establishing a standard student budget or
cost of education. Using a set of formulae developed by the U.S. Congress, called the
Federal Methodology, a calculation of a student’s resources, or expected family contri-
bution (
EFC), if applicable, is then made. The difference between a student’s cost of edu-
cation and the student’s personal or family contribution constitutes that student’s needs.
Under no circumstances may financial aid exceed a student’s cost of education.
* All information in this section is typical of the 2001–2002 academic year. It may differ from year to year depend-
ing on changes in federal regulations, the cost of living, and available financial aid resources.
cost of education
In determining the student’s financial aid award, the financial aid office develops an
expense budget that includes tuition and fees, costs for books and supplies, and a basic
living expense budget.
Basic living expenses are based on student surveys and Bureau of Labor Statistics data
for the area. A dependent care allowance is considered if the student’s (and spouse’s) total
income after taxes is not sufficient to meet the living expenses of the student’s depen-
dents. Except for allowable unusual expenses, which must be documented, higher bud-
gets are not considered.
Student’s Resources
expected family contribution
Assets
Students should take responsibility for contributing toward the cost of their own educa-
tion. Financial aid recipients are expected to use a portion of their savings and assets
during each year of enrollment at Yale. An asset protection allowance, based on students’
ages, numbers of dependents, and years remaining in the program, is used. Students are
advised not to reduce their assets by more than the expected contribution since the bal-
ance will be assumed to exist whether spent or not. If the savings and assets of the student
increase, the expected contribution from these resources will also increase.
Earnings
It is assumed that students will contribute to their budget an amount based on either last
year’s or next year’s earnings. If a recipient is married and his or her spouse is not a stu-
dent, and they have no dependent children, the spouse will also be expected to contribute
to the student’s budget from his or her wages. During the forthcoming year, minimum
earnings of
$10,000, less taxes and reasonable employment expenses, will be expected
from a spouse. These earnings are further reduced by an amount, the income protection
allowance, that is intended to cover his or her summer cost of living as well as the annual
expenses of any other dependents. This contribution is calculated according to schedules
developed by the U.S. Congress and the Need Access Service.
Parental Contribution
For the 2001–2002 academic year, the School will expect a contribution from the parents
of applicants who will not be 22 years of age by December 31, 2001. The resource
of such a student’s parents is evaluated to determine a reasonable contribution. This
amount is considered a student’s resource in lieu of parents’ contribution and may be
replaced with loan and/or Work-Study assistance.
Other Resources
Other resources such as outside awards, income tax rebates, and Veterans Administration
benefits are included among a student’s resources.
Financial Aid Policy 79
components of financial aid award
For new students in the 2001–2002 academic year, the first portion of a student’s need
was met through the assignment to Work-Study employment, the earnings for which
range between
$1,200 and $3,000, depending on the student’s field of study. The next
$14,000 came in the form of an educational loan, and the balance of a student’s demon-
strated need, if any, was covered by a scholarship. In order to equalize the debt burden of
graduating students, the financial aid office looks carefully at total loan indebtedness and
factors that in when determining a financial aid package.
Work-Study
The School’s initial form of assistance consists of assignment to a job, or series of jobs,
within the School or at the Yale Repertory Theatre. The assignment will be scheduled at
a time dictated by the production calendar and departmental requirements.
Educational Loans
During the 2001–2002 academic year, students at the School who are citizens or perma-
nent residents of the United States, are eligible to borrow under the Federal Stafford
(both the Subsidized and Unsubsidized versions) and Federal Perkins loan programs, as
well as various other private supplemental loan programs. Applicants are encouraged to
contact the financial aid office for information on the current status of these programs.
As of this printing the following terms pertain.
Provisions common to the Subsidized Federal Stafford and Federal Perkins loans:
they are insured by the federal government; they accrue no interest while the student is
in school; their repayment period may be as long as ten years; and they carry various can-
cellation and repayment deferral terms. Consult the financial aid office for details.
federal stafford loan
The Federal Stafford Loan program is the primary student loan program available to
School of Drama students. For the Subsidized Federal Stafford Loan, interest is paid by
the federal government during the in-school period and repayment of principal is
deferred until the student ceases to be enrolled at least half-time. Repayment of interest
and principal by the borrower begins approximately six months after the student’s last day
of enrollment. For the Unsubsidized Federal Stafford Loan, interest is charged to the stu-
dent as soon as the loan is disbursed. Students can pay the interest monthly or they can
opt to capitalize the interest and begin repayment of principal and interest after the grace
period. The interest rate is variable, adjusted annually based on the Treasury-bill rate, but
will not exceed 8.25 percent. The current rate is available from a Stafford lender, a bank,
or the financial aid office. The Federal Stafford Loan carries a federally mandated loan
origination fee of 3 percent and an insurance or guarantee fee of 1 percent of the princi-
pal.* The Subsidized Federal Stafford Loan aggregate maximum for undergraduate and
graduate study is
$65,500. The Federal Stafford Loan program aggregate maximum for
80 School of Drama
* If a Federal Stafford loan is guaranteed by the Connecticut Student Loan Foundation, the guarantee fee is waived
and the total fees will be 3 percent.
Financial Aid Policy 81
undergraduate and graduate study is $138,500 ($65,500 in Subsidized Federal Stafford
loans and
$73,000 in Unsubsidized Federal Stafford loans). The annual maximum for
2001–2002 is
$18,500 ($8,500 in subsidized loans and $10,000 in unsubsidized loans).
federal perkins loan
Because these funds are limited, Yale requires students to borrow the maximum Subsi-
dized Federal Stafford Loan before permitting a student to borrow through this program.
This loan carries a fixed annual interest rate of 5 percent. Repayment of interest and prin-
cipal begins approximately six to nine months after the student’s last day of enrollment.
other loan programs
Some federal and private supplemental loan programs offer funds to students who
require assistance beyond the amount offered in the loan award or the amount of a pro-
gram’s annual borrowing limits. They are also available to those students who do not
meet the eligibility criteria for those programs. The interest rate is generally tied to the
prime or base rate and a standard commercial credit analysis is usually required.
The Yale Education Loan, a private loan program, is offered through the Access
Group, Inc. (a nonprofit corporation). Based on the criteria of cost, quality, and service
this loan is considered one of the best private loans available to Yale students and their
families. Additional information is available from the Financial Aid Office.
CT FELP (Connecticut Family Education Loan Program), offered by the Connecti-
cut Higher Education Supplemental Loan Authority, is another private loan program.
Applications and more information are available from the financial aid office or by call-
ing 800.252.
FELP or 860.236.1400.
Yale Scholarships
If a new student’s financial need is greater than the total of the work-study award and the
$14,000 base loan, the remaining unmet need will normally be provided by a scholarship.
Eligibility for grant assistance is limited to six terms of study.
loan consolidation
The Consolidation Loan, which was created in 1986, will make it easier for certain stu-
dent borrowers to manage the repayment of their educational loans. It may be used to
replace any combination of Federal Stafford or Federal Perkins loans. Instead of making
multiple payments, which may have been necessary under the original loan schedules,
the borrower makes a single monthly payment. Moreover, at the discretion of the lender,
the borrower may exercise an option to extend repayment (to more than ten years), grad-
uate repayment (smaller payments in the early years and larger payments in the later
years), or make income-sensitive repayments (payment as a percentage of the borrower’s
income). A condition for issuance of a Consolidation Loan is that all original loans must
be in repayment or in the grace period, and that none may have past due payments
greater than ninety days. Details on Consolidation Loans are available from the financial
aid office.
aid available to special students and others
not eligible to receive financial aid
At present, certain students, including those with special student status, who are not eli-
gible for financial aid according to the congressional guidelines, may be eligible for a Yale
Education Loan or
CT FELP
loan. For more information, please see the paragraph
headed Other Loan Programs.
student responsibilities under
the federal programs
Students who receive funds through the federal programs mentioned above must certify
to the following: that any funds received will be used solely for expenses related to atten-
dance at the School; that they will repay funds which cannot reasonably be attributed to
meeting those expenses; and that they are not in default on any student loan nor owe a
repayment on a federal grant.
Continued eligibility for financial aid requires that students maintain satisfactory
progress in their courses of study according to the policies and practices of the School.
emergency loans
Sometimes an emergency situation arises in which a small amount of money is needed
for a short length of time. The financial aid office may be able to assist any student,
whether receiving financial aid or not, in such a situation by providing an emergency
loan in an amount up to
$350. Such loans are available for a reasonable amount of time,
not to exceed sixty days. If the loan is not repaid in full by the due date, a late charge of
$10 is assessed each month or part of a month until the amount is paid. Students facing
genuine emergency situations should apply to the financial aid office for such an emer-
gency loan.
veterans’ affairs benefits
Students seeking general information about veterans’ education benefits should contact
the Department of Veterans Affairs via the Web at www.gibill.ga.gov/ for eligibility
information. Students should contact the School registrar for enrollment certification.
82 School of Drama
Fellowships and Scholarships
Fellowships and scholarships are awarded exclusively to students with demonstrated
financial need.
The John Badham Scholarship, established in 1987 by alumnus John Badham (’63), sup-
ports outstanding directing students at the Yale School of Drama.
The George Pierce Baker Memorial Scholarship, established by friends of the late Mr. Baker
and by alumni of the School in 1960, honors the memory of Professor Baker, who chaired
the Yale Department of Drama from its founding in 1925 through 1933. The Baker Schol-
arship is awarded to a student playwright.
The Herbert H. and Patricia M. Brodkin Scholarship, established in 1963 by Mr. and Mrs.
Brodkin, Yale School of Drama classes of 1940 and 1941 respectively, is awarded to a stu-
dent of the School of Drama.
The Patricia M. Brodkin Memorial Scholarship, established in 1983 by Herbert Brodkin
(’40), associates, and friends in memory of his wife Patricia (’41), is awarded to a student
of the School of Drama.
The Truman Capote Literary Fellowships were established in 1994 through the generosity
of The Truman Capote Literary Trust, Alan U. Schwartz, Trustee, to encourage students
in Dramatic Criticism and Dramatic Writing to pursue the highest literary standards as
reflected in the work of Mr. Capote.
The Paul Carter Scholarship, established in 1995 in memory of Paul Carter, a 1983 Tech-
nical Design and Production graduate of the Drama School, by his family and friends, is
awarded to a student in the Technical Design and Production program with need for
financial support to complete his or her education. Mr. Carter was well known as the
author of The Backstage Handbook, a standard reference work in his field.
The Foster Family Graduate Fellowship was established in 1995 in memory of Max Foster
(Yale College ’23), who wanted to be a playwright or an actor, by his wife, Elizabeth, and
his son Vincent (Yale College ’60). The fellowship is awarded to a Drama student, with
preference given to graduates of Yale College.
The Annie G. K. Garland Memorial Scholarship, established in 1930 by William J. Garland
in memory of his wife, is awarded to a School of Drama student who is a graduate of Yale
College.
The Lord Memorial Scholarship, established in 1929 in memory of Henrietta Hoffman
Lord by her mother, Mrs. J. Walter Lord, and friends, is awarded to a female student in
her second or third year.
The Lotte Lenya Scholarship Fund, established in 1998 through an estate gift from Margo
Harris Hammerschlag and Dr. Ernst Hammerschlag, honors the late actress and wife of
Kurt Weill, Lotte Lenya. The Lenya Scholarship is awarded to a student actor who also
has proficiency in singing.
The Stanley R. McCandless Scholarship, established in 1979 by Louis Erhardt (’32) and
friends, honors the late Mr. McCandless, professor of stage lighting from 1925 through
1964. The McCandless Scholarship is awarded to a student in lighting design.
The Kenneth D. Moxley Memorial Scholarship, established in 1980 through an estate gift
from alumnus Kenneth D. Moxley (’50), assists students of the School of Drama.
The Donald M. Oenslager Scholarship in Stage Design, established in 1977 by his widow,
Mary P. Oenslager, honors Professor Oenslager, an original faculty member who
founded and chaired the School’s Design program until his retirement in 1970. The
Oenslager Scholarship supports outstanding design students in their third year of study.
The Donald and Zorka Oenslager Scholarship in Stage Design, established in 1996 through
an estate gift from Zorka Oenslager, is awarded to a resident student studying scene, cos-
tume, or lighting design.
The Eugene O’Neill Memorial Scholarship, established in 1958 by Drama alumni, faculty,
and friends of the School, honors the American playwright who received an honorary
Doctor of Literature degree from Yale University in 1926. The O’Neill Scholarship is
awarded to a student in playwriting.
The Mary Jean Parson Scholarship, established in 1999 with estate gifts from alumna Mary
Jean Parson (’59) and her mother, Ursula Parson, is awarded to a Drama student with
preference for a second-year female directing student.
The Richard Harrison Senie Scholarship, established in 1987 through an estate gift from
Drama alumnus Richard H. Senie (’37), is given to a student in design.
The Leon Brooks Walker Scholarship, established in 1975 by Alma Brooks Walker in
memory of her son, Leon (Yale College ’21), assists acting students of the Drama School.
The Richard Ward Scholarship, established in 1994 through an estate gift from Virginia
Ward in honor of her late husband, is awarded to a minority student.
The Constance Welch Memorial Scholarship was established in 1979 by former students and
friends in memory of Constance Welch, who originated the acting program at the
School of Drama, where she taught from 1929 to 1967. The Welch Scholarship is
awarded by the faculty to a student in acting.
The Rebecca West Scholarship, established in 1981 by Mrs. Katherine D. Wright, in honor
of Dame Rebecca West, whose remarkable literary career spanned seven decades, assists
students in the School of Drama.
The Audrey Wood Scholarship was established in 1983 by the friends of Miss Wood to
honor her legendary career as a literary agent to many of America’s most important new
playwrights. It is awarded to students in the playwriting program.
84 School of Drama
Prizes
The Truman Capote Prize, established by the trustees of his estate, is awarded to a student
of the School of Drama for excellence in critical writing. The 2000–2001 recipient was
Amy Strahler.
The
ASCAP Cole Porter Prize is awarded to a student of the School of Drama for excel-
lence in writing. The 2000–2001 recipient was Sean Cunningham.
The Edward C. Cole Memorial Award is sponsored by the Technical Design and Pro-
duction Class of 1983 to commemorate the contributions of Edward C. Cole to the
profession of technical theater. The recipient of this award, selected by his or her class-
mates in the graduating class of the Technical Design and Production department, best
exemplifies the ingenuity, creativity, craftsmanship, and dedication to the art of theater
that are the hallmarks of the theater technician. The 2000–2001 recipients were Neil
Mulligan and Chin-Yuan Yang.
The Carol Dye Award, given by friends and classmates of the late Carol Joyce Dye, Yale
School of Drama ’59, is awarded to a student in acting in recognition of talent and
accomplishment as a performer. The 2000-2001 recipients were Dara Fisher and
Kathryn Hahn.
The John W. Gassner Memorial Prize is awarded for the best critical essay, article, or
review by a student published in, or submitted to, Theater. The 2000–2001 recipient was
Wendy Weckwerth.
The Bert Gruver Memorial Prize is awarded to a student of the School of Drama for excel-
lence in stage management. The 2000–2001 recipient was Rachana Singh.
The Morris J. Kaplan Award, established by the friends and colleagues of Morris Kaplan,
is given to the third-year theater management student who most exhibits the integrity,
commitment, and selfless dedication to the art of theater which characterized Morris
Kaplan’s twenty-year career as counsel to the League of Resident Theaters. The
2000–2001 recipient was Melissa Huber.
The Leo Lerman Graduate Fellowship in Design, given by friends of the late Mr. Lerman
and the Samuel I. Newhouse Foundation, Inc., is awarded to a student of costume design
for the purpose of enabling that student to study internationally upon his or her gradu-
ation from the School of Drama. The 2000–2001 recipient was Junghyun Georgia Lee.
The Donald and Zorka Oenslager Travel Fellowship, established in 1996 through an estate
gift from Zorka Oenslager, is awarded to a design student who wishes to study interna-
tionally upon graduation. The 2000–2001 recipients were Tobin Ost and Cameron
Roberts.
86 School of Drama
The Oliver Thorndike Acting Award, established by Mrs. Nathaniel S. Simpkins, Jr., and
supplemented by gifts from her son, Nathaniel Simpkins
III, in memory of Oliver
Thorndike Simpkins, whose stage name was Oliver Thorndike, is awarded annually to
an actor in the School who best exemplifies the spirit of fellowship, cooperation, and
devotion to the theater that characterized Mr. Thorndike. The 2000–2001 recipients
were Jane Cho and Peter Katona.
The Herschel Williams Prize, established by Mr. Williams, who was a member of the first
class accepted in Drama at Yale, is awarded to an acting student with outstanding ability.
The 2000–2001 recipients were Remy Auberjonois and Katherine Nowlin.
Enrollment 2001–2002
registered for the degree of doctor of fine arts*
Cynthia Taylor Brizzell Jonathan D. Shandell
Ana Puga Amy L. Strahler
Rebecca Ann Rugg Claudia Wilsch
Thomas W. Sellar
Total, 7
registered for the degree of master of fine arts
Third Year
Zakiyyah Abdul-Rahiim
Timothy Joseph Acito
Izumi Ashizawa
Camille Miluse Benda
Joshua Ray Borenstein
Lucia Brawley
Catherine Jane Bredeson
Ilana Michelle Brownstein
Jonathan Busky
Chih-huey Chang
Edgar Meyer Cullman
Ashley Rebecca Elder
Leslie Elliard
Miriam Rose Epstein
Michael Kenneth Field
Bridget Flanery
Erik Flatmo
Shannon McCormick Flynn
Jackson Grace Gay
Brad Heberlee
Kourtney A. Keaton
Fred Thomas Kinney
Leslie Ellen Kramer
Agnieszka Kunska
O-Jin Kwon
Jason Lindner
Dar Lurn Liu
Sheila M. Lopez
Jennifer Lena Mannis
Melissa Caroline McVay
Derek Andrew Milman
Marcella Ildiko Nowak
Nancy Parsons
Joshua William Peklo
Teresa Petersen
Andrew Charles Plumer
Andrew Ramcharan
Clara Rice
Gene Phillip Rogers
Erika Rundle
Sallie Dorsett Sanders
Sarah Ann Schlinder
Matthew Lane Schwartz
Janine Serralles
Jared Siegel
Mikiko Suzuki
William Thompson
Courtney Michelle Todd
Daniel Robert Urlie
Robin Diana Vest
Frank N. Vigliotti
Heather Jeanne Violanti
Wendy Ann Weckwerth
Paul Whitaker
Bess Wohl
Tamilla Woodard
Annette Worden
Total, 57
* In residence.
88 School of Drama
Adelfo Rey Pamatmat
Maulik Navin Pancholy
Laura Elizabeth Patterson
Bradley L. Powers
Mark Prey
Casey Reitz
Adam Montgomery Richman
Juan Carlos Salinas
Emily Shooltz
Amy Smitherman
Alec Tok
Kathryn Walat
Amanda Wallace Woods
Li He Xiao
Marnye Young
Total, 55
First Year
Camille Assaf
Charles Daniel Baker
Sara Jane Baldwin
Sarah K. Bartlo
Nick Bria
Suzen Bria
Colin Buckhurst
Gabrielle Castellini
Gregory Copeland
Stefani Katarina Cvijetic
Elin Eggertsdottir
Kim Christine Ehler
Gia Forakis
Jessica Elizabeth Ford
Marcus Dean Fuller
Marcus Matthew Gardley
Sandra Goldmark
Marion Emma Grinwis
John Hanlon
Amy E. Hills
Christopher Hourcle
David Howson
Phyllis Ann Johnson
Second Year
Roberto Aguirre-Sacasa
Heather Lea Anderson
Young Ju Baik
Michael Banta
Alexander Barreto
Linda Bartholomai
Jacob Blumer
Scott Bolman
Elaine Bonifield
Wilson Chin
Soonmin Chong
Christine Veronica Collins
Marie Davis-Green
Patrick Diamond
Aron Egner
Christie Evangelisto
Gregory A. Felden
Susan Finque
Kristin Lee Fiorella
Reiko Fuseya
Robyn Ganeles
Karron E. Graves
Alan Grudzinski
Ann Hamada
Adrien-Alice Hansel
Carrie Hughes
Matthew Humphreys
Nathanael Johnson
Billy Eugene Jones
Corrine Larson
China Lee
Emily Leue
Derek F. Lucci
Laura MacNeil
Peter Jerrod Macon
Michael Madravazakis
Elena Moreno Maltese-Blount
Heather Elizabeth Mazur
David Read Muse
Meredith Palin
Enrollment 89
Rolin Jones
Anne Kenney
Peter Young Hoon Kim
Ryan Christopher King
Jennifer Chen Hua Lim
Anthony John Manna
Molly McCarter
LeRoy McClain
Sabrina McGuigan
Sterling Michols
Shaunda E. Miles
Alice Rebecca Moore
Benjamin Mosse
Grace Eleanor O’Brien
Jamie O’Brien
Adam N. O’Byrne
Emily Jane O’Dell
Valerie Oliveiro
Stephanie Pearlman
Phillip Scott Peglow
Reynaldo Pena
Blythe Quinlan
James Donald Reynolds
Kevin Michael Rich
Tijuana Teneda Ricks
Sarah Ryan Schmidt
Carrie Silverstein
Alexis Gaynor Soloski
Carlos Tesoro
Nathan Tomsheck
Keith Townsend
Kara-Lynn Vaeni
Sergio Villegas
Amanda Kate Walker
Keiko Yamamoto
Total, 58
registered for the
certificate in drama
Second Year
Wade Laboissonniere
Torkel Skjaerven
Total, 2
First Year
Brendan Hughes
Total, 1
registered as
special students
Maddalena Deichmann
Iskandar K. Loedin
Total, 2
registered for the
technical internship
certificate
David Berendes
Tiziana Mazziotto
Hae Won Yang
Total, 3
90 School of Drama
Departmental Summary
Doctor of Fine Arts: 7
Acting
Third-Year Class: 15
Second-Year Class: 15
First-Year Class: 16
Directing
Third-Year Class: 3
Second-Year Class: 4
First-Year Class: 4
Design
Third-Year Class: 11
Second-Year Class: 11
First-Year Class: 10
Dramaturgy and Dramatic Criticism
Third-Year Class: 7
Second-Year Class: 6
First-Year Class: 4
Playwriting
Third-Year Class: 4
Second-Year Class: 4
First-Year Class: 4
General Summary
Candidates for the D.F.A. Degree (in residence) 7
Candidates for the
M.F.A. Degree 170
Third-Year Class: 57
Second-Year Class: 55
First-Year Class: 58
Candidate for the Certificate in Drama 3
Candidates for the Technical Internship Certificate 3
Special Students 2
Total number of students registered 185
Sound Design
Third-Year Class: 1
First-Year Class: 4
Technical Design and Production
Third-Year Class: 8
Second-Year Class: 7
First-Year Class: 6
Theater Management
Third-Year Class: 7
Second-Year Class: 7
First-Year Class: 8
Stage Management
Third-Year Class: 1
Second-Year Class: 3
First-Year Class: 5
Technical Internship: 3
The Work of Yale University
The work of Yale University is carried on in the following schools:
Yale College: Courses in humanities, social sciences, natural sciences, mathematical and computer
sciences, and engineering. Bachelor of Arts (B.A.), Bachelor of Science (B.S.), Bachelor of Liberal
Studies (B.L.S.).
For additional information, please write to the Office of Undergraduate Admissions, Yale
University, PO Box 208234, New Haven
ct 06520-8234; telephone, 203.432.93oo; e-mail,
undergraduate.admissions
@
yale.edu; Web site, www.yale.edu/admit/
Graduate School of Arts and Sciences: Courses for college graduates. Master of Arts (M.A.),
Master of Science (
M.S.), Master of Philosophy (M.Phil.), Doctor of Philosophy (Ph.D.).
For additional information, please write to the Yale Graduate School of Arts and Sciences,
PO Box 208323, New Haven ct 06520-8323; telephone, 203.432.2770; e-mail, graduate.admissions
@
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School of Medicine: Courses for college graduates and students who have completed requisite
training in approved institutions. Doctor of Medicine (M.D.). Postgraduate study in the basic sci-
ences and clinical subjects. Courses in public health for qualified students. Master of Public Health
(M.P.H.), Master of Medical Science (M.M.Sc.) from the Physician Associate Program.
For additional information, please write to the Director of Admissions, Office of Admissions,
Yale University School of Medicine, 367 Cedar Street, New Haven ct 06510; telephone,
203.785.2643; fax, 203.785.3234; e-mail, medical.admissions
@
yale.edu; Web site, www.info.med.yale.
edu/medadmit/
For additional information about the Department of Epidemiology and Public Health, an
accredited School of Public Health, please write to the Director of Admissions, Department of Epi-
demiology and Public Health, Yale School of Medicine,
PO Box 208034, New Haven ct 06520-
8034; e-mail, maria.dino
@
yale.edu; Web site, www.info.med.yale.edu/eph/
Divinity School: Courses for college graduates. Master of Divinity (M.Div.), Master of Arts in Reli-
gion (
M.A.R.). Individuals with an M.Div. degree may apply for the program leading to the degree of
Master of Sacred Theology (S.T.M.).
For additional information, please write to the Admissions Office, Yale University Divinity
School, 409 Prospect Street, New Haven
ct 06511; telephone, 203.432.5360; fax, 203.432.5356;
e-mail, ydsadmsn
@
yale.edu; Web site, www.yale.edu/divinity/
Law School: Courses for college graduates. Juris Doctor (
J.D.). For additional information, please
write to the Admissions Office, Yale Law School,
PO Box 208329, New Haven ct 06520-8329; tele-
phone, 203.432.4995; e-mail, admissions.law
@
yale.edu; Web site, www.law.yale.edu/
Graduate Programs: Master of Laws (LL.M.), Doctor of the Science of Law (J.S.D.), Master of
Studies in Law (
M.S.L.). For additional information, please write to Graduate Programs, Yale Law
School,
PO Box 208215, New Haven ct 06520-8215; telephone, 203.432.1696; e-mail, gradpro.law
@
yale.edu; Web site, www.law.yale.edu/
School of Art: Professional courses for college and art school graduates. Master of Fine Arts
(M.F.A.).
For additional information, please write to the Office of Academic Affairs, Yale School of Art,
PO Box 208339, New Haven ct 06520-8339; telephone, 203.432.2600; e-mail, artschool.info
@
yale.edu; Web site, www.yale.edu/art/
School of Music: Graduate professional studies in performance, composition, and conducting.
Certificate in Performance, Master of Music (M.M.), Master of Musical Arts (M.M.A.), Artist
Diploma, Doctor of Musical Arts (D.M.A.).
For additional information, please write to the Yale School of Music,
PO Box 208246, New
Haven
ct 06520-8246; telephone, 203.432.4155; fax, 203.432.7448; e-mail, gradmusic.admissions
@
yale.edu; Web site, www.yale.edu/schmus/
School of Forestry & Environmental Studies: Courses for college graduates. Master of Forestry
(M.F.), Master of Forest Science (M.F.S.), Master of Environmental Science (M.E.Sc.), Master of
Environmental Management (M.E.M.), Doctor of Forestry and Environmental Studies (D.F.E.S.).
For additional information, please write to the Office of Academic Services, Yale School of
Forestry & Environmental Studies, 205 Prospect Street, New Haven ct 06511; telephone,
800.825.0330 or 203.432.5100; e-mail, fesinfo
@
yale.edu; Web site, www.yale.edu/environment/
School of Architecture: Courses for college graduates. Professional degree: Master of Architec-
ture (M.Arch.); nonprofessional degree: Master of Environmental Design (M.E.D.).
For additional information, please write to the Yale School of Architecture, PO Box 208242,
New Haven ct 06520-8242; telephone, 203.432.2296; e-mail, gradarch.admissions
@
yale.edu; Web
site, www.architecture.yale.edu/
School of Nursing: Courses for college graduates. Master of Science in Nursing (M.S.N.), post
master’s certificate, Doctor of Nursing Science (D.N.Sc.).
For additional information, please write to the Yale School of Nursing,
PO Box 9740, New
Haven
ct 06536-0740; telephone, 203.785.2389; Web site, www.nursing.yale.edu/
School of Drama: Courses for college graduates and certificate students. Master of Fine Arts
(M.F.A.), Certificate in Drama, One-year Technical Internship (Certificate), Doctor of Fine Arts
(D.F.A.).
For additional information, please write to the Registrar’s Office, Yale School of Drama,
PO
Box
208325, New Haven
ct 06520-8325; telephone, 203.432.1507; Web site, www.yale.edu/drama/
School of Management: Courses for college graduates. Professional degree: Master of Business
Administration (M.B.A.).
For additional information, please write to the Admissions Office, Yale School of Management,
PO Box 208200, 135 Prospect Street, New Haven ct 06520-8200; telephone, 203.432.5932; fax,
203.432.7004; e-mail, mba.admissions
@
yale.edu; Web site, www.yale.edu/som/
92 School of Drama
Temple Street
W
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Chapel Street
York Street
Grove Street
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Yale
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215
Park
Holcombe T.
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353 C
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G
PSC
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from I-91 & I-95
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Copyright ©2001 Yale University Not to scale
The University is committed to basing judgments concerning the admission, education, and
employment of individuals upon their qualifications and abilities and affirmatively seeks to
attract to its faculty, staff, and student body qualified persons of diverse backgrounds. In
accordance with this policy and as delineated by federal and Connecticut law, Yale does not
discriminate in admissions, educational programs, or employment against any individual on
account of that individual’s sex, race, color, religion, age, disability, status as a special disabled
veteran, veteran of the Vietnam era, or other covered veteran, or national or ethnic origin;
nor does Yale discriminate on the basis of sexual orientation.
University policy is committed to affirmative action under law in employment of women,
minority group members, individuals with disabilities, special disabled veterans, veterans of
the Vietnam era, and other covered veterans.
Inquiries concerning these policies may be referred to Frances A. Holloway, Director of
the Office for Equal Opportunity Programs, 104 W. L. Harkness Hall, 203.432.0849.
In accordance with both federal and state law, the University maintains information con-
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to the Office of the Secretary of the University, PO Box 208230, New Haven ct 06520-8230,
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