Course Form (revised 7-2008)
I. Summary of Proposed Changes
Dept / Program
School of Theatre & Dance
Course Title
Course #
UG THTR 425
(DRAM 440)
Acting VII: Studio
Short Title (max. 26 characters incl. spaces)
Summarize the change(s) proposed
Acting VII: Studio
Renaming course, revising course description, and
adding Professional Development Fee
II. Endorsement/Approvals
Complete the form and obtain signatures before submitting to Faculty Senate Office
Please type / print name Signature
Requestor:
Jere Hodgin
Phone/ email :
x2877
Program Chair/Director:
Date
jere.hodgin@umontana.edu
Mark Dean
x2879
Other affected programs:
Dean:
Dr. Stephen Kalm
x4970
III: To Add a New Course Syllabus and assessment information is required (paste syllabus into
section V or attach). Course should have internal coherence and clear focus.
Exact entry to appear in the next catalog (Specify course abbreviation, level, number, title, credits,
repeatability (if applicable), frequency of offering, prerequisites, and a brief description.) 
Justification: How does the course fit with the existing curriculum? Why is it needed?
Are there curricular adjustments to accommodate teaching this course?
Complete for UG courses. (UG courses should be assigned a 400 number).
Describe graduate increment (Reference guidelines: http://www.umt.edu/facultysenate/Grad/UG.htm)
Fees may be requested only for courses meeting specific conditions determined by the
Board of Regents. Please indicate whether this course will be considered for a fee.
If YES, what is the proposed amount of the fee?
Justification:
IV. To Delete or Change an Existing Course – check X all that apply
Deletion
Title
Course Number Change
From:
Level U, UG, G
To:
Description Change
Change in Credits
X
From:
To:
Prerequisites
1. Current course information at it appears in catalog
(http://www.umt.edu/catalog) 
UG 440 Advanced Acting: Contemporary
Theatre 3 cr. Offered spring even-numbered years.
YES
NO
X
From:
To:
Repeatability
Cross Listing
(primary program
initiates form)
Is there a fee associated with the course?
2. Full and exact entry (as proposed) 
Yes
UG 425 Acting VII: Studio 3 cr. Offered autumn.
Prereq., THTR 421. Performance and scene work
Prereq., DRAM 414 or consent of instr.
Performance and scene work in contemporary
practice and theory.
3. If cross-listed course: secondary program & course
number
4. Graduate increment if level of course is changed to
UG. Reference guidelines at:
http://www.umt.edu/facultysenate/Grad/UG.htm
(syllabus required in section V)
5. Other programs affected by the change
6. Justification for proposed change
in contemporary practice and theory.
Have you reviewed the graduate increment
guidelines? Please check (X) space provided.
We are proposing this course to replace the need
for acting majors to repeat THTR 420 during their
final year in the program. By restructuring this
course, students can experience different and
specific in-depth training each of their eight
semesters in the program. We are also adding a
Professional Development Fee that is identical to
the one attached to other courses in this
sequence. The fee is used to prepare audition
materials, take field trips, and to provide other
items to enhance the student’s professional
portfolio.
V. Syllabus/Assessment Information
Required for new courses and course change from U to UG. Paste syllabus in field below or attach and send
digital copy with form.
Acting VII: Studio
Contemporary Work
THTR 425.01
Class Overview
This is an advanced acting class building on the exploration of ensemble introduced in THTR 420
and 421. Graduate and undergraduate students will engage in exercises designed to build ensemble
while working on advanced scene study from contemporary dramas and comedies.
The scene study will develop as the semester progresses from work on realistic Western Drama from
the last decade, examining and exploring the possibilities of the text when a more current and
“outside-the-box” approach is employed taking it perhaps out of the realm of realism to any number
of possibilities of artistic and theatrical expression. The culmination of the semester will be a
sharing of where we are with the work with our colleagues in whatever form we feel is appropriate
at the time.
Ensemble Work
To foster an encouraging and productive environment for our work, we will treat the Schrieber Gym
as a sacred space. Please remove your shoes and socks before entering the classroom and cease all
conversation. Once you have stowed your belongings, begin to straighten the area, picking up any
trash and returning any rehearsal furniture to the periphery. If you arrive early, use this time for
silent reflection, meditation, or stretching. If you must speak, speak only of the work we will as a
company. This does not mean we will not have the freedom to laugh and enjoy our ensemble, but
we must remain focused on our tasks.
In addition, we require that you wear only black movement clothes to class: tight-fitting and
restrictive clothing and anything too revealing (showing skin) will not be acceptable. No hats,
hooded sweatshirts, or anything that covers the head will be allowed, except black accessories
necessary to discretely keep long hair out of ones face. To insure your own safety and the safety of
others remove all jewelry before class. Small studs worn in piercings to keep them from closing are
permissible. To give you time to acquire the necessary garments, the dress code will be enforced
fully starting the second week of class. Be prepared to work barefoot.
Policy
As an upper level acting course there are no un-excused absences. Two absences drop the grade a
letter and so on. Two tardy arrivals equals one absence.
The graduate Students are expected to continue their leadership role in the conduct of this class the
particulars of which will be forthcoming.
Grades will be determined by attendance, involvement, intellectual and creative contribution to the
process, engagement, and preparedness, contribution to the ensemble and several “Project Journals”
for each section of the course.
Grading
Attendance 25%
Process and Participation
50%
Reflection and Critique of Artistic Progress 25%
Required Texts
August: Osage County, by Tracy Letts (2007)
Blackbird, by David Harrower (2005)
Dead Man's Cell Phone, by Sarah Ruhl (2008)
Doubt: A Parable, by John Patrick Shanley (2005)
Fuddy Meers, by David Lindsay-Abaire (1999)
The Lieutenant of Inishmore, by Martin McDonagh (2006) *
The Little Dog Laughed, by Douglas Carter Beane (2006)
Metamorphoses, by Mary Zimmerman (2002)
Rock and Roll, by Tom Stoppard (2006) *
The Shape of Things, by Neil Labute (2003)
Take Me Out, by Richard Greenberg (2002)
*Plays which require dialect work.
Class structure
Week 1-4
Monologue Study
Week 5-8
Scene Study I
Week 9-12
Scene Study II
Week 13-16 Final Project
Calendar:
Monday
26 January
Wednesday
Monday
Wednesday
28 January
2 February
4 February
Introduction
Warm Up Regimen
Project Journals
Assessment of Artistic Development
Graded Monologues and Scenes
Monologue Presentation; Self Response; General Critique
Monologue Workshops- Half & Half
Monologue Workshops- Half & Half (Switch)
Monologue Deconstruction- Half & Half
Monday
Wednesday
Monday
Wednesday
Monday
Wednesday
Monday
Wednesday
Monday
Wednesday
Monday
Wednesday
Monday
Wednesday
Monday
Wednesday
Monday
Wednesday
Monday
Wednesday
Monday
Wednesday
Monday
Wednesday
Monday
Wednesday
9 February
11 February
16 February
18 February
23 February
25 February
2 March
3 March
9 March
11 March
16 March
18 March
23 March
25 March
30 March
1 April
6 April
8 April
13 April
15 April
20 April
22 April
27 April
29 April
4 May
6 May
Monologue Deconstruction- Half & Half (Switch)
Monologue Presentation, Self Response, General Critique
No Classes- Lincoln Day
Pod, Director, and Play Assignments
Approval of Scenes (1 Comic; 1 Serious)
In-class Scene Rehearsals
In-class Scene Rehearsals
In-class Scene Rehearsals
Presentation and Critical Response to Scene 1 Round One
Presentation and Critical Response to Scene 1 Round Two
Concept Work Based on Scenes
In-class Scene Rehearsals
In-class Scene Rehearsals
In-class Scene Rehearsals
Spring Break
Spring Break
Presentation and Critical Response to Scene 2 Round One
Presentation and Critical Response to Scene 2 Round Two
Concept Work Based on Scenes
Open Pod Scene and Monologue Assignment
In-class Monologue and Scene Rehearsals
In-class Monologue and Scene Rehearsals
In-class Monologue and Scene Rehearsals
1st Presentation of Final Monologues and Scenes
Final Presentation of Final Monologues and Scenes
Review and Response of Final Project; Project Journals
Due; Assessment of Artistic Development
VI Department Summary (Required if several forms are submitted) In a separate document list course
number, title, and proposed change for all proposals.
VII Copies and Electronic Submission. After approval, submit original, one copy, summary of
proposals and electronic file to the Faculty Senate Office, UH 221, camie.foos@mso.umt.edu.