Course Form (revised 7-2008)
I. Summary of Proposed Changes
Dept / Program
School of Theatre & Dance
U THTR 438
(DRAM 402)
Course #
Methods of Teaching Theatre
Short Title (max. 26 characters incl. spaces)
Methods Tchg Theatre
Summarize the change(s) proposed
Removing graduate increment
Course Title
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
From:
To:
Prerequisites
1. Current course information at it appears in catalog
(http://www.umt.edu/catalog) 
UG 402 Methods of Teaching Theatre 2 cr. (R-6)
Offered autumn. Prereq., consent of instr. Building
and addressing specific curriculum in theatre arts.
YES
NO
X From: UG
To:
U
Repeatability
Cross Listing
(primary program
initiates form)
Is there a fee associated with the course?
2. Full and exact entry (as proposed) 
U 438 Methods of Teaching Theatre 2 cr. (R-6)
Offered autumn. Prereq., consent of instr. Building
and addressing specific curriculum in theatre arts.
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
Have you reviewed the graduate increment
guidelines? Please check (X) space provided.
We are proposing a new course specifically to
address the teaching curriculum our graduate
students will encounter in face-to-face courses.
This undergraduate-level course will be geared
toward students who intend to teach at the
elementary or secondary level rather than the
college level.
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.
SCHOOL OF THEATRE & DANCE
Methods of Teaching Theatre—THTR 438
2 CREDITS
Location: PARTV 190 (Seminar Room)
Time: TR 12:40-2P
Dr. Ann C. Wright
Office: McGill 212A Phone: 243-5846 Email: ann.wright@umontana.edu
Office Hours: MWF 9:00-10:00 or by appointment
Course Description: This course is a hands-on and theoretical inquiry into pedagogy as a public
practice, in learning institutions, and in other sites of teaching. Before we engage in our primary
task, which is to prepare you to teach courses in theatre, drama, and performance studies, we’ll think
about the contexts, in which you’ll find yourselves as teachers.
First we will address the educational goals necessary to help develop students capable of engaging
in societies of the future, investigating methods of training the disciplinary, synthesizing, creating,
respectful, and ethical minds. We will then profile the student, exploring various learning styles and
intelligences, grounding our discussions by looking at various theories and debates about
contemporary progressive pedagogy.
Once we have contextualized our work, our meetings will turn to the pragmatics of teaching,
including how to develop courses in your area of expertise; developing “generalist” courses; writing
a syllabus and formulating assignments; developing your “style” as a lecturer and facilitator; grading
and assessing student work; creating a student-centered classroom; developing your own teaching
philosophy; and more.
This class aims to provoke your intellectual and practical commitments to the field, and to help you
develop your skills as a teacher of theatre, drama, and performance studies.
Required Course Texts:
*Howard Gardner, Frames of Mind: The Theory of Multiple Intelligences
*Howard Gardner, Five Minds for the Future
*Margaret F. Johnson, The Drama Teacher’s Survival Guide: A Complete Tool Kit for
Theatre Arts
Departmental Rules and Regs:
All Drama/Dance students must have an in-depth knowledge of the practices and procedures
outlined in the Department of Drama/Dance Handbook. The Handbook is available online at
http://www.sfa.umt.edu/drama/index.html. Please consult the 2007-2008 Handbook for specific
information regarding attendance policies, absences, tardies, missed or late assignments or tests,
ways to challenge a grade, special accommodations, scholastic dishonesty, and other areas of
interest.
Academic Misconduct and the Student Conduct Code
All students must practice academic honesty. Academic misconduct is subject to an academic
penalty by the course instructor and/or disciplinary sanction by the University. All students need to
be familiar with the Student Conduct Code. The Code is available for review online at
www.umt.edu/SA/VPSA/Index.cfm/page/1321.
A Note about Attendance and Late Policy:
Departmental policy allows for two unexcused absences. Each subsequent unexcused absence will
result in the lowering of your final grade by 1/2 of a letter grade. The only excuses accepted for
absences are illness accompanied by a doctor’s note; death in the family, also with a note; university
obligation, with appropriate documentation; and, religious holidays as outlined in the departmental
Handbook.
Class begins promptly at 12:40, and two excessive tardies (after 12:45) will be counted as an
absence. If you are absent, or late, you are responsible for finding out what you missed and making
up all work. If you know in advance that you are going to be absent, you are required to submit in
advance any work that will be due during your absence, and you will be responsible for making up
all work missed during the absence. It is obviously to your advantage to learn what you have
missed. If necessary, arrange a meeting with me, after you have consulted with a fellow classmate
for class notes and assignments.
Written work is considered late if it is not available to be turned in at the beginning of the class
period for which the assignment is due. Assignments should be submitted typed rather than handwritten.* Computer/printer problems do not constitute a valid excuse for a late paper. Material
submitted late will lose a full letter grade per day for the first two days, after which time they will
no longer be accepted and will receive a zero.
* Please turn in all written assignments typed, double spaced, 1.3” margins, 12 pt. Times
New Roman (or other “readable font”), following MLA guidelines for style. Number all
pages, after the first page, in the upper right-hand corner, and insert your last name as
illustrated on this syllabus. Cover pages (title pages) are not necessary (save the trees!)
Place your name, the course number, the title of the assignment, and the date in the top lefthand corner of the first page. Please STAPLE pages together!!!
Productive Participation:
“Productive participation” means being prepared for class; asking relevant questions; contributing
informed, relevant comments; engaging in the process of learning through group discussion; and
being open to informed, intelligent debate. You do not always have to agree with your peers or your
instructor, but you do always need to be respectful of differing opinions, and you must always be
certain that your positions are informed by your own reading, research, and experience, not merely
by what you’ve heard from someone else, or read in the latest issue of Vanity Fair.
Grading/Assessment:
Critical Analysis-------------------------------------10%
Paper proposal---------------------------------------15%
Micro-teaching sessions (4)—(7.5 % each)-----30%
Teaching portfolio----------------------------------15%
Final Micro-teaching Session---------------------20%
Class participation----------------------------------10%
100%
Brief description of assignments (detailed handouts to follow, if necessary):
Critical Analysis*: This short (2-3 page) paper will be based on ideas generated by
Gardner’s Five Minds for the Future. The paper is intended to demonstrate your
understanding of the authors’ arguments and points of view. You will discuss the author’s
stance, and show how he arrived at specific conclusions, using a defined methodology and
approach. This paper may serve as a critique as it does present an opportunity for the writer
to enter into debate with the author. Remember, however, a critique is not always negative.
In the event that you heartily agree with the author’s stance on a subject, use this opportunity
to say so, and to bring in quotations from other sources that strengthen the argument.
Always maintain evidence of a grasp of the author’s intention, and the work’s significance in
the greater scheme of things, regardless of your personal take on the thesis. Include
bibliography.
Paper proposal*: Each student will select an “intelligence” (we’ll draw from a hat) for
further research and study. Rather than write the paper, however, the student will develop
and present a 3-5 page proposal for such a document. Included in this proposal will be such
sub-categories as:
1. a statement of topic or the question(s) you would like to investigate (i.e. how the
chosen intelligence could impact theatre arts education and be integrated into theatre
course work,)
2. an indication why you are curious about this topic, why you find it compelling,
3. a list of questions, ideas, or thoughts that relate to the topic,
4. a brief description on what is already known from Gardner’s research, and what you
think you will find (or hope to argue) when you incorporate this information into
theatre arts education,
5. a description of your methodology* (how you intend to attack the problem),
including the object(s) of study (see note at end of syllabus)
6. an annotated bibliography of books (3-4), articles (2-3), and websites (limit yourself
to 1-2) that you have already consulted or plan to study and use to support and
elaborate on the “idea” you have regarding your selected intelligence (the “what”)
7. an idea about how you might present this material and to whom (As a conference
presentation? As a presentation to the faculty, the school board, the community?
Select a site-specific presentation location? Use visual aides, sound, demonstrations,
evidence samples? Other ideas?)
8. a statement of why this research matters or how your work on this topic will
contribute to theatre arts education and arts education in general. (The “so what?”)
Micro-teaching sessions: Each student will present four 20 minute sessions (15 min.
presentation, 5 min. Q&A) on theatre related topics. The first session will concentrate on
“theatre games” that illustrate and reinforce the selected objective of the session. The
second session will address theatre topics other than acting (i.e. directing, costuming,
design, theory, terminology, etc.,) exploring ways to make this important information
available to your students in engaging new ways beyond the standard lecture. The third
session will synthesize several approaches to the material from within the theatre discipline.
These presentations can include history, theory, practice (acting or technical aspects), literary
analysis, or contextual integration of theatrical activity within a specific cultural
environment. The fourth session will be similar to the third, but will include suggestions as
to how this material could be integrated with other classes to contribute to the learning
potential in both areas. (The fourth session should suggest integration with some aspect of
the sciences, technology, mathematics, etc.)
For all four sessions, the student will turn in a lesson plan including 1) a statement of the
“problem,” 2) the “motivation” for the lesson and its structure, 3) the “approach” chosen to
present the lesson material, and 4) the anticipated “results,” or “conclusion” expected to be
reached by the lesson, as well as a description of all activity, including handouts if
applicable. A copy should be made for the instructor, as well as for each member of the
class to include in their private cache of “ideas.”
A self-assessment of the lesson will be due the following class period, and should indicate
not only personal reflection on the efficacy of the project, but also incorporate suggestions
made by fellow classmates (during the discussion period) for changes, increased emphasis,
or revision.
Teaching Portfolio*: A packet for potential employers to include one generalist
(synthesized) unit syllabus and one specialist (disciplinary) unit syllabus, student
assignments and rationales for both courses, statement of teaching philosophy, a resume or
curriculum vitae, and job cover letter.
Final Micro-teaching Session: Prior to this final session, you will present your portfolio
for review to a “committee” consisting of the instructor and two of your peers (selected in
a blind draw). Of course, each student will be playing the role of both “candidate” and
“committee member.” After the portfolio has been reviewed by your committee, you
would present your “job talk” to the entire class (a 15 min. lesson—including 5 min.
Q&A), and be briefly interviewed by your committee members. (Each student
“committee member” must have at least two appropriate questions prepared for this
segment.) The “candidate’s” final self-assessment and completed portfolio will be due in
my office by noon on the scheduled final exam day (TBA.) “Committee members” will
turn in their final assessments of the “candidate’s job talk and portfolio” to my office by
noon on the scheduled final exam day (TBA.)
Did you prove yourself a “theatre teacher?” Your final grade will indicate whether you were
“hired.” 
Students with Special Needs:
Students with disabilities or special needs should notify me as soon as possible after the onset of
class work.
A Note about your Syllabus and Course Schedule:
This syllabus and course schedule is a guide for you to use to keep up with your assignments and to
plan for important due dates—refer to your syllabus every day; that’s why it’s here. After the
assignment has been discussed in class, if you are still confused about any assignment as it appears
on the syllabus, please ask me about it before the day it’s due. And, just so we’re clear on due dates,
work noted on the course schedule is DUE on the date marked.
Due to the possibility of unforeseen delays and/or rapid progress, this syllabus and course schedule
is subject to change at the discretion of the professor. You will always be notified well in advance if
any changes, additions, deletions, or other modifications are needed.
*Note: FYI: Methodology includes the following concepts as they
relate to a particular discipline or field of inquiry: a collection of
theories, concepts or ideas; comparative study of different approaches;
and critique of the individual methods. The social sciences are
methodologically diverse using qualitative, quantitative, and mixedmethods approaches. Qualitative methods include the case study,
phenomenology, grounded theory, and ethnography, among others.
Quantitative methods include hypothesis testing, power analysis,
metanalysis, observational studies, re-sampling, randomized
controlled trials, regression analysis, multilevel modeling, and highdimensional data analysis, among others. Carefully select the
methodology that you feel applies, and then research that
methodology to be sure. If you are incorporating both artistic and
scientific proof into your argument, you may want to use Carlo
Ginzberg’s “theory of evidence.” This method offers a way to shape,
reassess, and integrate factual and theoretical information. Ginzburg
refers to this tactic as “a manipulation of evidence,” one that
emphasizes “theoretical probability rather than scientific proof.”
Methods of Teaching Theatre—THTR 438
Course Outline
Autumn Semester 2008
September 1 (Monday) - Labor Day, Holiday
November 4 (Tuesday) - Election Day, Holiday
November 11 (Tuesday) - Veterans Day, Holiday
November 26-27-28 (Wednesday-Friday) - Thanksgiving Vacation
December 8-12 (Monday-Friday) Final Examinations
Tuesday, August 26: Class introduction: reviewing course objectives, assign
“intelligence” for later work
Thursday, August 28: Addressing the scope of contemporary pedagogy as it
applies to the theatre classroom, and learning to evaluate teaching
styles and effectiveness in our own experience
Tuesday, September 2: Five Minds for the Future: Introductory discussion of
how theatre education fits into this discussion. Teaching the Disciplinary
and Synthesizing Minds (Come equipped with specific ideas that
could be used to incorporate these minds into your lessons.)
Thursday, September 4: Five Minds for the Future: Teaching the Creating, Respectful
and Ethical Minds (Come equipped with specific ideas that
could be used to incorporate this mind into your lessons.)
Tuesday, September 9: Demonstrating your skills #1 (micro-teaching a very specific
disciplinary lesson plan—theatre games and class feedback) Please have
copies of your lesson plan for the instructor as well as all class members.
Thursday, September 11: Demonstrating your skills #1 (micro-teaching a very specific
disciplinary lesson plan—theatre games and class feedback) Please have
copies of your lesson plan for the instructor as well as all class members.
(Self assessments due from students who presented on
September 9.)
(Critical analysis of Five Minds for the Future due)
You will be assigned a specific “Act” from Margaret Johnson’s The
Drama Teacher’s Survival Guide. Read the entire chapter and keep
notes for the introductory discussion on Tuesday, September 16. (All
students read pp 1-26)
Tuesday, September 16: Let’s deconstruct Margaret Johnson’s The Drama Teacher’s
Survival Guide.
Chapter discussions will be led by students per assigned reading
material.
(Self assessments due from students who presented on
September 11.)
Thursday, September 18: Continued discussion of The Drama Teacher’s
Survival Guide. What sections do you find particularly valuable so far?
Review of the Epilogue section. Overall, do you feel there is anything
missing? Other guides? Bring one possible source from the library to share
in class.
Tuesday, September 23: “The real scoop”
Guest lecturer: Michael Butterworth
Thursday, September 25: Demonstrating your skills #2 (micro-teaching a “disciplinary
lesson plan”—theatre, drama, and/or performance material other than
acting, and class feedback) Please have copies of your lesson plan for the
instructor as well as all class members.
Tuesday, September 30: Demonstrating your skills #2 (micro-teaching a “disciplinary
lesson plan”—theatre, drama, and/or performance material other than
acting, and class feedback) Please have copies of your lesson plan for the
instructor as well as all class members.
(Self assessments due from students who presented on
September 25.)
Thursday, October 2: Addressing the multiple intelligences and their impact
on the theatre classroom (discussion of paper proposal assignment, selection
of specific intelligence to research, and initial workshop session.)
(Self assessments due from students who presented on
September 25.)
Tuesday, October 7: Workshop paper proposals.
Thursday, October 9: Discussion of discoveries and “a-ha” moments regarding
the multiple intelligences and their application to arts education.
Tuesday, October 14: Teralyn Tanner, Jackie Davies, and Cody Hyslop—MFA Grad
Students—demonstrate their teaching skills.
Discussion.
Paper Proposals due
Thursday, October 16: Demonstrating your skills #3 (micro-teaching a
synthesized lesson—within discipline—and class feedback) Please have
copies of your lesson plan for the instructor as well as all class members.
Tuesday, October 21: Demonstrating your skills #3 (micro-teaching a
synthesized lesson—within discipline—and class feedback) Please have
copies of your lesson plan for the instructor as well as all class members.
(Self assessments due from students who presented on
October 16.)
Thursday, October 23: Now, I need a job! Where to look, and how to respond
to a search notification. How to determine if a job seems right
for you. Beginning to develop your portfolio. Research various places to
look for job notifications. Bring examples to class for discussion.
(Self assessments due from students who presented on
October 21.)
Tuesday, October 28: Portfolio Development: The Unit Syllabus—Generalist and
Specialist (Brief discussion and work session)
Thursday, October 30: Demonstrating your skills #4 (micro-teaching a
synthesized lesson—integrating another discipline—and class feedback)
Please have copies of your lesson plan for the instructor as well as all class
members.
Tuesday, November 4: Election Day, Holiday
Thursday, November 6: Demonstrating your skills #4 (micro-teaching a
synthesized lesson—integrating another discipline—and class feedback)
Please have copies of your lesson plan for the instructor as well as all class
members.
(Self assessments due from students who presented on
October 30.)
Tuesday, November 11: Veteran’s Day, Holiday
Thursday, November 13: Portfolio Development: The Teaching Philosophy
(Brief discussion and work session)
(Self assessments due from students who presented on
November 6.)
Tuesday, November 18: Portfolio Development: The Resume or Curriculum
Vitae (Brief discussion and work session)
Thursday, November 20: Portfolio Development: The Cover Letter (Brief
discussion and work session)
Tuesday, November 25: Portfolios due to “committee”
The “job talk” and navigating the interview process (“A Teacher
Prepares”—micro-teaching rehearsals, video, and further class feedback,
role-playing, and one-on-one discussions with instructor if desired.)
Wed.-Fri., November 26, 27, and 28: Thanksgiving Holiday
Tuesday, December 2: Final Micro-Teaching and Job Interview
Thursday, December 4: Final Micro-Teaching and Job Interview
December 8-12: Finals Week
The “candidate’s” final self-assessment and completed portfolio will be due in my
office by noon on the scheduled final exam day (TBA.) “Committee members” will
turn in their final assessments of the “candidate’s job talk and portfolio” to my office
by noon on the scheduled final exam day (TBA.)
There will be no final exam in this course. Use this time to pack
for home and pat yourself on the back for a job well done . . . unless, of
course, we need the time to complete our final presentations. 
Did you prove yourself a “theatre teacher?” Your final grade will
indicate whether you were “hired.” 
NOTE: Outside reading from texts and other materials is DUE on the date when that material is
scheduled for discussion. In other words, pace yourself. At all times, evidence of your preparation
will contribute to your class participation evaluation.
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.