Request for New Course
E ASTERN M ICHIGAN U NIVERSITY
D
IVISION OF
A
CADEMIC
A
FFAIRS
R
N
C
D
EPARTMENT
/S
CHOOL
: _C
OMMUNICATION
, M
EDIA
& T
HEATRE
A
RTS
______ C
OLLEGE
: A
RTS
& S
CIENCES
C ONTACT P ERSON : ___M ELANIE S CHUESSLER _________________________ ___________________________________________________
C ONTACT P HONE : 7-0032 C ONTACT E MAIL : MSCHUESS
R EQUESTED S TART D ATE : T ERM ______F ALL _______Y EAR _____2011______
@ EMICH .
EDU
The Arts, Entertainment and Recreation industry is predicted to grow 15% by 2018 according to the Bureau of
Labor Statistics (second only to the field of Healthcare and Social Assistance). The impetus for creating this class in the
Department of Communication, Media and Theatre Arts is, quite simply, to capitalize on the growth of this field and create a multidisciplinary program of study that will give students a solid foundation to work in today’s entertainment industry.
This course is offered as a capstone project building on the experiences students will have had in CTAA 167 and 267
(Theatre Practice) and CTAR 368 (Applied Design and Technology I). Every production is different—not only a different script and different actors, but also different designers and director. The design and production process requires a great deal of time and energy spent in close collaboration with a small group of people under a strict deadline. Students must learn the flexibility required to approach each situation with enthusiasm and professionalism so that they can contribute to the synergy that creates a great show. They must also learn to engage in extensive research and communicate clearly and efficiently with various people, each of whom will have a very different approach to the process.
CTAR 368 is designed as an initial opportunity to be deeply involved in the design and production process. CTAR 468 is designed to capitalize on those gains and build experience that will help students succeed in their future careers.
Please note that because Applied Design and Technology II is not a traditional-delivery course, the syllabus will follow the design and production schedule rather than the semester.
1. Subject Code and Course Number: CTAR 468
2 . Course Title: Applied Design and Technology II
3. Credit Hours: 1
4. Repeatable for Credit? Yes_______ No___X___ If “Yes”, how many total credits may be earned?_______
5. Catalog Description (Limit to approximately 50 words.):
An advanced laboratory course in which students will fulfill a major technical or design role in a mainstage production within the department or other approved on-campus production. Particular emphasis will be placed on documenting the student’s work for use in their professional portfolio.
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6. Method of Delivery (Check all that apply.) a. Standard (lecture/lab) X
On Campus X Off Campus b. Fully Online c. Hybrid/ Web Enhanced
7. Grading Mode: Normal (A-E) X Credit/No Credit
8. Prerequisites: Courses that MUST be completed before a student can take this course. (List by Subject Code, Number and Title.)
CTAR 368 Applied Design and Technology I
CTAA 267 Theatre Practice
9. Concurrent Prerequisites: Courses listed in #5 that MAY also be taken at the same time as a student is taking this course. (List by Subject
Code, Number and Title.)
10. Corequisites: Courses that MUST be taken at the same time as a student in taking this course. (List by Subject Code, Number and
Title.)
11 . Equivalent Courses. A student may not earn credit for both a course and its equivalent. A course will count as a repeat if an equivalent course has already been taken. (List by Subject Code, Number and Title)
12. Course Restrictions: a. Restriction by College. Is admission to a specific College Required?
College of Business
College of Education
Yes
Yes
No
No
X
X b. Restriction by Major/Program. Will only students in certain majors/programs be allowed to take this course?
Yes No X
If “Yes”, list the majors/programs c. Restriction by Class Level Check all those who will be allowed to take the course:
Undergraduate Graduate
All undergraduates____X___
Freshperson
All graduate students____
Certificate
Sophomore
Junior
Masters
Specialist
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Senior
Second Bachelor________
Post-Bac. Tchr. Cert._____
Doctoral
UG Degree Pending_____
Low GPA Admit_______
Note: If this is a 400-level course to be offered for graduate credit, attach Approval Form for 400-level Course for Graduate
Credit. Only “Approved for Graduate Credit” undergraduate courses may be included on graduate programs of study.
Note: Only 500-level graduate courses can be taken by undergraduate students. Undergraduate students may not register for
600-level courses d. Restriction by Permission. Will Departmental Permission be required? Yes X
(Note: Department permission requires the department to enter authorization for every student registering.)
No
13. Will the course be offered as part of the General Education Program? Yes No X
If “Yes”, attach Request for Inclusion of a Course in the General Education Program: Education for Participation in the Global Community form. Note : All new courses proposed for inclusion in this program will be reviewed by the General Education Advisory Committee. If this course is NOT approved for inclusion in the General Education program, will it still be offered? Yes No
Within the Department :
14 . Will this course will be a requirement or restricted elective in any existing program(s)? Yes No X*
If “Yes”, list the programs and attach a copy of the programs that clearly shows the place the new course will have in the curriculum.
*It will be a requirement in the proposed “Entertainment Design and Technology” major and minor.
Program
Program
Required
Required
Restricted Elective
Restricted Elective
15. Will this course replace an existing course?
Yes
16. (Complete only if the answer to #15 is “Yes.”)
No X a. Subject Code, Number and Title of course to be replaced: b. Will the course to be replaced be deleted? Yes No
17. (Complete only if the answer #16b is “Yes.”) If the replaced course is to be deleted, it is not necessary to submit a Request for
Graduate and Undergraduate Course Deletion.
Term Year a. W hen is the last time it will be offered?
b. Is the course to be deleted required by programs in other departments?
Contact the Course and Program Development Office if necessary. Yes No c. If “Yes”, do the affected departments support this change? Yes No
If “Yes”, attach letters of support. If “No”, attach letters from the affected department explaining the lack of support, if available .
Outside the Department : The following information must be provided. Contact the Course and Program Development office for assistance if necessary.
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18 . Are there similar courses offered in other University Departments?
If “Yes”, list courses by Subject Code, Number and Title
Yes No X
19.
If similar courses exist, do the departments in which they are offered support the proposed course?
Yes No
If “Yes”, attach letters of support from the affected departments. If “No”, attach letters from the affected department explaining the lack of support, if available.
20. Attach a detailed Sample Course Syllabus including: a.
Course goals, objectives and/or student learning outcomes b.
Outline of the content to be covered c.
Student assignments including presentations, research papers, exams, etc. d.
Method of evaluation e.
Grading scale (if a graduate course, include graduate grading scale) f.
Special requirements g.
Bibliography, supplemental reading list h.
Other pertinent information.
NOTE: COURSES BEING PROPOSED FOR INCLUSION IN THE EDUCATION FOR PARTICIPATION IN THE GLOBAL
COMMUNITY PROGRAM MUST USE THE SYLLABUS TEMPLATE PROVIDED BY THE GENERAL EDUCATION
ADVISORY COMMITTEE. THE TEMPLATE IS ATTACHED TO THE REQUEST FOR INCLUSION OF A COURSE IN THE
GENERAL EDUCATION PROGRAM: EDUCATION FOR PARTICIPATION IN THE GLOBAL COMMUNITY FORM.
(Complete only if the course will require additional University resources. Fill in Estimated Resources for the sponsoring department(s). Attach separate estimates for other affected departments.)
Based upon current enrollment trends, our instructional resources (faculty, staff, full/part-time lecturers), equipment, and established course offering patterns are sufficient to add this course to the theatre curriculum.
Estimated Resources: Year One Year Two Year Three
Faculty / Staff
SS&M
Equipment
$_________
$_________
$_________
$_________
$_________
$_________
$_________
$_________
$_________
Total $_________ $_________ $_________
1. Department/School
Vote of faculty: For ____29______ Against ____0______ Abstentions
(Enter the number of votes cast in each category.)
____0______
Department Head/School Director Signature
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Date
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2. College/Graduate School
A. College
College Dean Signature
B. Graduate School (if Graduate Course)
Graduate Dean Signature
Associate Vice-President for Academic Programming Signature
Date
Date
Date
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Professor
Melanie Schuessler
Quirk 102 mschuess@emich.edu
487-0032
Office Hours
Monday/Wednesday 10:30-12:00
Tuesday/Thursday 9:00-10:30 or by appointment
Course Description
This course is designed as a one-on-one laboratory approach to design for the stage. The curriculum and timetable are customized for your individual design project.
In this instance, you are serving as the costume designer for Shakespeare’s Hamlet.
As such, your weekly assignments and assessment will directly relate to the product you are creating for dissemination on the Quirk stage.
As the course is individualized to your particular work for this semester, please note that work begins on September 14th and during the period of October 12-22nd your work will be intensely focused around evenings and weekends for technical rehearsals of Hamlet.
Course Objectives
By taking on the responsibility of designing costumes for a realized production, students will gain proficiency and experience in the processes necessary for costume design in the theatre, including conceptualization, research, and drawing the human figure and costumes. Students will also utilize the organizational structures necessary for costume design and engage in the process of moving a show through the build to dress rehearsals and opening night.
Grading
Each aspect of the design and production process has a point value; the highest possible total is 1000. The total of your points at the end of the semester divided by ten will be your semester grade.
Points
75
75
Assignment
Participation and Professionalism
Effective Communication
75
25
100
100
100
100
100
100
75
75
1000 points
Effective and workable Concept
Organization (represented by your show binder)
The design process: Research
The design process: Sketches
The design process: Renderings
Realization of designs: pulling and purchasing
Realization of designs: the fitting and building process
Realization of designs: the dress rehearsal process
Realization of designs: accessories and craft-work
Post-mortem reflection
Plagiarism/Cheating
The presentation of others’ work as your own is unacceptable and will result in a failing grade. If you have questions about what constitutes plagiarism, please ask.
Schedule
Students will meet with me weekly to discuss the progress of the show. Students are also responsible for attending every concept, design, and production meeting and the post-mortem. Many others depend upon your work in this process. If you are late or fail to attend meetings when required, the show as a whole will suffer as well as your grade. Please make every attempt to meet your deadlines and be present when necessary.
W EEK 1 Concept Phase
Concept Meeting
W EEK 2 Concept Phase
Concept Meeting
Initial research
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W EEK 3 Concept Phase
Concept Meeting
Full show research due
W
EEK
4 Design Phase
Sketches due
Production meeting
W
EEK
5 Design Phase
Revised sketches due
Production meeting
W EEK 6 Design Phase
Final Renderings Due
Production meeting
W EEK 7 Production Phase
Measuring actors and pulling costumes
Production meeting
W EEK 8 Production Phase
Fittings
Production meeting
W EEK 9 Production Phase
Fittings
Production meeting
W EEK 10 Production Phase
Final show preparations
Production meeting
W EEK 11 Production Phase
Tech week and Opening Night
W EEK 12 Post-production
Self-assessment and debriefing
W EEK 13 Post-production
Post-mortem
Concept Phase:
Read and analyze the script. Create a show binder (paper or digital) to collect all pertinent information.
Meet with director (and possibly other designers) to discuss concept and characters. Do research to flesh out your ideas. There may be more than one concept meeting.
Meet with director and other designers to present research and discuss color scheme.
Design Phase:
Revise concept as needed based on feedback. Do pencil sketches to communicate your ideas for each and every costume in the show. Swatch the sketches if color scheme has been decided.
Meet with director and other designers to present sketches. If color scheme has not been decided, discuss it.
Revise designs as needed based on feedback. Do color renderings.
Meet with director and other designers to present renderings. If necessary, revise designs based on feedback and present again.
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Production Phase:
Meet with Costume Shop Manager to discuss the budget and which pieces will be built, altered, and rented.
Pull, shop, and rent fabric, trim, notions, and costumes as necessary.
Be available for consultation on built costume pieces.
Attend all fittings.
Pull, buy or build all accessories. Do any craft-work necessary.
Consult with wardrobe crew about costumes and any quick-changes or special hair and makeup needs.
Attend all dress rehearsals. Take notes on what needs to be altered, finished, or repaired.
Assist with all final details.
Attend the post-mortem.
Bibliography
Anderson, Cletus and Barbara Anderson. Costume Design . Fort Worth: Harcourt Brace College Publishers, 1999.
Blum, Daniel. A Pictorial History of the Silent Screen . New York: G.P. Putnam’s Sons, 1953.
Blumenthal, Eileen, Julie Taymor, and Antonio Monda. Julie Taymor: Playing with Fire . New York: Harry N. Abrams, Inc., 1995.
Boucher, Fran ç ois. 20,000 Years of Fashion . New York: Harry N. Abrams, 1983.
Bruzzi, Stella. Undressing Cinema: Clothing and Identity in the Movies . New York: Routledge, 1997.
Chakkour, Mario Henri. Virtual Pose 3: The Ultimate Visual Reference Series for Drawing the Human Figure . Rockport, MA: Hand Press
Books, 2004.
Chenoune, Farid. A History of Men’s Fashion . New York: Flammarion, 1993.
Cole, Holly and Kristin Burke. Costuming for Film: The Art and the Craft . Los Angeles: Silman-James Press, 2005.
Cunningham, Rebecca. The Magic Garment: Principles of Costume Design . New York: Longman, 1989.
Davenport, Milia. The Book of Costume . New York: Crown Publishers, 1948.
Friedland, Nancy E., ed. Documenting: Costume Design . New York: Theatre Library Association, 2010.
Fukai, Akiko. Fashion: The Collection of the Kyoto Costume Institute . New York: Taschen, 2002.
Gaines, Jane and Charlotte Herzog, eds. Fabrications: Costume and the Female Body . New York: Routledge, 1990.
Gottfried, Martin. Broadway Musicals . New York: Harry N. Abrams, 1979.
Gottfried, Martin. More Broadway Musicals . New York: Harry N. Abrams, 1991.
Huaixiang, Tan. Character Costume Figure Drawing: Step-by-Step Drawing Methods for Theatre Costume Designers . New York: Focal
Press, 2010.
Ingham, Rosemary. From Page to Stage: How Theatre Designers Make Connections Between Scripts and Images . New York: Heinemann
Drama, 1998.
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Ingham, Rosemary and Liz Covey. The Costume Designer’s Handbook . Portsmouth, NH: Heinemann Educational Books, 1992.
Ingham, Rosemary and Liz Covey. The Costume Technician’s Handbook . Portsmouth, NH: Heinemann Educational Books, 1992.
La Motte, Richard. Costume Design 101: The Business and Art of Creating Costumes for Film and Television . Studio City, CA: Michael
Weise Productions, 2010.
Landis, Deborah Nadoolman. Costume Design: Screen Craft . Burlington, MA: Focal Press, 2003.
Lee, Sarah Tomerlin, ed. American Fashion . New York: Fashion Institute of Technology, 1975.
Leese, Elizabeth. Costume Design in the Movies: An Illustrated Guide to the Work of 157 Great Designers . New York: Dover Publications,
1991.
Maeder, Edward. Hollywood and History: Costume Design in Film . Los Angeles: Los Angeles County Museum of Art and Thames and
Hudson, 1987.
Payne, Blanche. The History of Costume: From the Ancient Mesopotamians Through the Twentieth Century . New York: Harper & Row,
1965.
Pecktal, Lynn. Costume Design: Techniques of Modern Masters . New York: Back Stage Books, 1999.
Russell, Douglas A. Stage Costume Design: Theory, Technique, and Style. Englewood Cliffs, NJ: Prentice-Hall, 1985.
Ryder, Anthony. The Artist’s Complete Guide to Figure Drawing: A Contemporary Perspective on the Classical Tradition . New York:
Watson-Guptill Publications, 2000.
Severa, Joan. Dressed for the Photographer: Ordinary Americans and Fashion, 1840-1900 . Kent, OH: Kent State University Press, 1995.
Spencer, Charles. Cecil Beaton: Stage and Film Designs . London: Academy Editions, 1994.
Spencer, Charles. Leon Bakst and the Ballets Russes . London: Academy Editions, 1996.
Street, Sarah. Costume and Cinema: Dress Codes in Popular Film . New York: Wallflower Press, 2001.
Strong, Roy, Ivor Guest, et al. Designing for the Dancer . London: Elron Press, 1981.
Walch, Margaret. Living Colors: The definitive guide to color palettes through the ages.
San Francisco: Chronicle Books, 1995.
Wayne, Chidy. 1000 Poses in Fashion . Beverly, MA: Rockport Publishers, 2010.
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