Course Form
I. Summary of Proposed Changes
Dept / Program
School of Theatre & Dance
Course Title
Acting VI: Studio
Prefix and Course # U THTR 421
Short Title (max. 26 characters incl. spaces)
Acting VI: Studio
Summarize the change(s) proposed
Removing graduate increment
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
mark.dean@umontana.edu
Other affected programs
Dean:
Dr. Stephen Kalm
stephen.kalm@umontana.edu
Are other departments/programs affected by this modification Please obtain signature(s) from the
because of
Chair/Director of any such department/
(a) required courses incl. prerequisites or corequisites,
program (above) before submission
(b) perceived overlap in content areas
(c) cross-listing of coursework
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.
Common Course Numbering Review (Department Chair Must Initial):
YES
NO
Does an equivalent course exist elsewhere in the MUS? Check all relevant disciplines if
course is interdisciplinary. (http://mus.edu/transfer/CCN/ccn_default.asp)
If YES: Do the proposed abbreviation, number, title and credits align with existing course(s)? Please indicate
equivalent course/campus. 
If NO: Course may be unique, but is subject to common course review. Be sure to include learning outcomes
on syllabus or paste below. The course number may be changed at the system level.
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 - see procedure 301.30
http://umt.edu/facultysenate/committees/grad_council/procedures/default.aspx
Complete for Co-convented courses
Companion course number, title, and description (include syllabus of companion course in section V)
See procedure 301.20 http://umt.edu/facultysenate/committees/grad_council/procedures/default.aspx.
New fees and changes to existing fees are only approved once each biennium by the
Board of Regents. The coordination of fee submission is administered by Administration
and Finance. Fees may be requested only for courses meeting specific conditions
according to Policy 940.12.1 http://mus.edu/borpol/bor900/940-12-1.pdf . Please
indicate whether this course will be considered for a fee.
YES
NO
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,
X From: UG
G
To:
To:
U
Co-convened
Description Change
Repeatability
Change in Credits
From:
Cross Listing
(primary
To:
program
initiates form)
Prerequisites
Is there a fee associated with the
Yes
course?
1. Current course information at it appears in catalog
2. Full and exact entry (as proposed) 
(http://www.umt.edu/catalog) 
UG 421 (DRAM 415) Acting VI: Studio 3 cr. Offered
spring. Prereq., THTR 420 (DRAM 414). Selected scenes
and projects from specific historical and stylistic periods,
from Molière to Restoration comedy.
U 421 (DRAM 415) Acting VI: Studio 3 cr.
Offered spring. Prereq., THTR 420 (DRAM
414). Selected scenes and projects from
specific historical and stylistic periods, from
Molière to Restoration comedy.
3. If cross-listed course: secondary program & course
number
4. If co-convened course: companion course number, title, and description
(include syllabus of companion course in section V) See procedure 301.20
http://umt.edu/facultysenate/committees/grad_council/procedures/default.aspx.
C 521 Studio Training for the Actor II: Period Plays 3 cr. Offered spring. Prereq., THTR 520. Scenes
and projects from specific historical and stylistic periods, from Molière to Restoration comedy to drawingroom comedy. Co-convenes with THTR 421.
5. Is this a course with MUS Common Course Numbering?
http://mus.edu/transfer/CCN/ccn_default.asp
If yes, please explain below whether this change will eliminate the course’s common course
status.
YES NO
X
No.
6. Graduate increment if level of course is changed to UG.
Reference procedure 301.30:
http://umt.edu/facultysenate/committees/
grad_council/procedures/default.aspx
(syllabus required in section V)
7. Other programs affected by the change
8. Justification for proposed change
Have you reviewed the graduate
increment guidelines? Please check (X)
space provided.
We are removing the graduate increment for
this course due to the concurrent proposals
being made for co-convened graduate studiotraining acting courses. The course can then
follow Grad Council’s requirements for a coconvening course.
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.
THTR 421
Acting VI
3CR
Jere Hodgin
School of Theatre & Dance
College of Visual and Performing Arts
jere.hodgin@umontana.edu
McGill 216
243-2877
Office Hours: 11:00 Monday & Wednesday; 11:30- noon Tuesday and by appointment
Description:
This class and lab are about creativity born out of awareness, discovery, and awakening the
imaginative impulse within us. In addition we will explore craft and techniques as a means of
unleashing and channeling the creative process of the actor.
Objectives:
To recognize, analyze, and achieve a working knowledge of acting styles beyond Contemporary
Realism
To examine historical performance Periods and Genres
To explore the concepts of playing character through genre and personal style while focusing on
Character Objectives and Tactics
To explore Period Style through rehearsing and performing monologues and scenes
Texts:
Style of Actors: A Handbook for Moving Beyond Realism by Robert Barton
In addition, you will be assigned plays that we will select as a class to read, analyze, rehearse, and perform.
Other assigned reading will include various articles, essays, and trade publications that relate to specific
topics with which we deal in class. (We will incorporate ideas from and borrow freely from various texts on
acting.)
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
http://life.umt.edu/VPSA/name/StudentConductCode.
School of Theatre and Dance Policies:
All Theatre & Dance students must have an in-depth knowledge of the practices and procedures
outlined in the School of Theatre & Dance Handbook. The Handbook is available online at
http://www.umt.edu/theatredance/about/handbook
Students with disabilities may request reasonable modifications by contacting me. The University
of Montana assures equal access to instruction through collaboration between students with
disabilities, instructors, and Disability Services for Students (DSS). “Reasonable” means the
University permits no fundamental alterations of academic standards or retroactive
modifications. For more information, please consult http://www.umt.edu/disability.
Graded Course Requirements:
Rehearsal Journal (5%)
Participation (30%)
Monologue Work and Presentation (20%)
Scene Work and Presentations (45%)
Note: As this studio class is based on participation, attendance is requisite. The collaborative and creative
processes of theatre are the foundation of our class. Mutual feedback and a free exchange of ideas are
necessary. Your attendance supports the work; your absence has an effect upon the work of the entire class.
More than three unapproved and unexcused absences will result in a full grade reduction of
one level.
Calendar:
Monday
Wednesday
Friday
Monday
Wednesday
Friday
Monday
Wednesday
Friday
Monday
Wednesday
24 January
26 January
28 January
31 January
2 February
4 February
9 February
11 February
13 February
14 February
16 February
Friday
18 February
Monday
Wednesday
Friday
Monday
Wednesday
Friday
Monday
Wednesday
Friday
Monday
Wednesday
Friday
21 February
23 February
25 February
28 February
2 March
4 March
7 March
9 March
11 March
14 March
16 March
18 March
Introduction
“Recognizing Style”
Monologue Research
“Recognizing Style” Contd.
“Analyzing Style”
Monologue Research
“Analyzing Style” Contd.
“Mastering Style”
Monologue Research
“Mastering Style” Contd.
“Restoration Period Style: Decadence as One of the Fine
Arts”/Monologue Selection
“Restoration Period Style: Decadence as One of the Fine
Arts” Contd.
No Classes- President’s Day Holiday
In-Class Rehearsal- Monologue
In-Class Rehearsal- Monologue
In-Class Rehearsal- Monologue
In-Class Rehearsal- Monologue
In-Class Rehearsal- Monologue
Monologue Presentations/Response
“Restoration Period Style” Scene Assignment
“Restoration Period Style” (In-Class Rehearsals)
“Restoration Period Style” (In-Class Rehearsals)
“Restoration Period Style” (In-Class Rehearsals)
“Restoration Period Style” (In-Class Rehearsals)
Monday
Wednesday
Friday
Monday
21 March
23 March
25 March
28 March
Wednesday
Friday
Monday
Wednesday
Friday
Monday
Wednesday
Friday
Monday
Wednesday
30 March
1 April
4 April
6 April
8 April
11 April
13 April
15 April
18 April
20 April
Friday
Monday
Wednesday
Friday
Monday
Wednesday
Friday
Wednesday
Final Exam
3:20- 5:20
22 April
25 April
27 April
29 April
2 May
4 May
6 May
11 May
“Restoration Period Style” (In-Class Rehearsals)
“Restoration Period Style” Presentation/Response Scenes
“Relatives of Restoration Style: Morals and Manners”
“Relatives of Restoration Style: Morals and Manners”
Contd./Scene Assignment- Moliere
“Relatives of Restoration Style” (In-Class Rehearsals)
“Relatives of Restoration Style” (In-Class Rehearsals)
Spring Break
Spring Break
Spring Break
“Relatives of Restoration Style” (In-Class Rehearsals)
“Relatives of Restoration Style” (In-Class Rehearsals)
“Relatives of Restoration Style” (Outside Rehearsals)
“Restoration Style” Presentation/Responses- Moliere
“Relatives of Restoration Style”- Goldsmith & Sheridan
(In-Class Rehearsals)
“Relatives of Restoration Style” (Outside Rehearsals)
“Relatives of Restoration Style” (In-Class Rehearsals)
“Relatives of Restoration Style” (In-Class Rehearsals)
“Relatives of Restoration Style” (Outside Rehearsals)
“Relatives of Restoration Style” (In-Class Rehearsals)
“Relatives of Restoration Style” (In-Class Rehearsals)
“Relatives of Restoration Style” (Outside Rehearsals)
“Restoration Style” Presentation/Responses- Goldsmith &
Sheridan; Rehearsal Journals Due
THTR 521
Studio Training for the Actor II: Period Plays
3CR
Jere Hodgin
School of Theatre & Dance
College of Visual and Performing Arts
jere.hodgin@umontana.edu
McGill 216
243-2877
Office Hours: 11:00 Monday & Wednesday; 11:30- noon Tuesday and by appointment
Description:
This class and lab are about creativity born out of awareness, discovery, and awakening the
imaginative impulse within us. In addition we will explore craft and techniques as a means of
unleashing and channeling the creative process of the actor. Each student will coach students in
THTR 420 on monologues, read additional texts, and participate in individual meetings with me.
Students will also engage in additional cohort interactions and projects.
Objectives:
To recognize, analyze, and achieve a working knowledge of acting styles beyond Contemporary
Realism
To examine historical performance Periods and Genres
To explore the concepts of playing character through genre and personal style while focusing on
Character Objectives and Tactics
To explore Period Style through rehearsing and performing monologues and scenes
Texts:
Style of Actors: A Handbook for Moving Beyond Realism by Robert Barton
In addition, you will be assigned plays that we will select as a class to read, analyze, rehearse, and perform.
Other assigned reading will include various articles, essays, and trade publications that relate to specific
topics with which we deal in class. (We will incorporate ideas from and borrow freely from various texts on
acting.)
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
http://life.umt.edu/VPSA/name/StudentConductCode.
School of Theatre and Dance Policies:
All Theatre & Dance students must have an in-depth knowledge of the practices and procedures
outlined in the School of Theatre & Dance Handbook. The Handbook is available online at
http://www.umt.edu/theatredance/about/handbook
Students with disabilities may request reasonable modifications by contacting me. The University
of Montana assures equal access to instruction through collaboration between students with
disabilities, instructors, and Disability Services for Students (DSS). “Reasonable” means the
University permits no fundamental alterations of academic standards or retroactive
modifications. For more information, please consult http://www.umt.edu/disability.
Graded Course Requirements:
Rehearsal Journal (5%)
Participation (30%)
Monologue Work and Presentation (20%)
Scene Work and Presentations (45%)
Note: As this studio class is based on participation, attendance is requisite. The collaborative and creative
processes of theatre are the foundation of our class. Mutual feedback and a free exchange of ideas are
necessary. Your attendance supports the work; your absence has an effect upon the work of the entire class.
More than three unapproved and unexcused absences will result in a full grade reduction of
one level.
Calendar:
Monday
Wednesday
Friday
Monday
24 January
26 January
28 January
31 January
Introduction
“Recognizing Style”
Monologue Research
“Recognizing Style” Contd.
Wednesday
Friday
Monday
Wednesday
Friday
Monday
Wednesday
2 February
4 February
9 February
11 February
13 February
14 February
16 February
Friday
18 February
Monday
Wednesday
Friday
Monday
Wednesday
Friday
Monday
Wednesday
Friday
Monday
Wednesday
Friday
Monday
Wednesday
Friday
Monday
21 February
23 February
25 February
28 February
2 March
4 March
7 March
9 March
11 March
14 March
16 March
18 March
21 March
23 March
25 March
28 March
Wednesday
Friday
Monday
Wednesday
Friday
Monday
Wednesday
Friday
Monday
Wednesday
30 March
1 April
4 April
6 April
8 April
11 April
13 April
15 April
18 April
20 April
Friday
Monday
Wednesday
Friday
Monday
Wednesday
Friday
Wednesday
Final Exam
3:20- 5:20
22 April
25 April
27 April
29 April
2 May
4 May
6 May
11 May
“Analyzing Style”
Monologue Research
“Analyzing Style” Contd.
“Mastering Style”
Monologue Research
“Mastering Style” Contd.
“Restoration Period Style: Decadence as One of the Fine
Arts”/Monologue Selection
“Restoration Period Style: Decadence as One of the Fine
Arts” Contd.
No Classes- President’s Day Holiday
In-Class Rehearsal- Monologue
In-Class Rehearsal- Monologue
In-Class Rehearsal- Monologue
In-Class Rehearsal- Monologue
In-Class Rehearsal- Monologue
Monologue Presentations/Response
“Restoration Period Style” Scene Assignment
“Restoration Period Style” (In-Class Rehearsals)
“Restoration Period Style” (In-Class Rehearsals)
“Restoration Period Style” (In-Class Rehearsals)
“Restoration Period Style” (In-Class Rehearsals)
“Restoration Period Style” (In-Class Rehearsals)
“Restoration Period Style” Presentation/Response Scenes
“Relatives of Restoration Style: Morals and Manners”
“Relatives of Restoration Style: Morals and Manners”
Contd./Scene Assignment- Moliere
“Relatives of Restoration Style” (In-Class Rehearsals)
“Relatives of Restoration Style” (In-Class Rehearsals)
Spring Break
Spring Break
Spring Break
“Relatives of Restoration Style” (In-Class Rehearsals)
“Relatives of Restoration Style” (In-Class Rehearsals)
“Relatives of Restoration Style” (Outside Rehearsals)
“Restoration Style” Presentation/Responses- Moliere
“Relatives of Restoration Style”- Goldsmith & Sheridan
(In-Class Rehearsals)
“Relatives of Restoration Style” (Outside Rehearsals)
“Relatives of Restoration Style” (In-Class Rehearsals)
“Relatives of Restoration Style” (In-Class Rehearsals)
“Relatives of Restoration Style” (Outside Rehearsals)
“Relatives of Restoration Style” (In-Class Rehearsals)
“Relatives of Restoration Style” (In-Class Rehearsals)
“Relatives of Restoration Style” (Outside Rehearsals)
“Restoration Style” Presentation/Responses- Goldsmith &
Sheridan; Rehearsal Journals Due
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.
Revised 5-4-11