Mission
The Mission of the Concordia University Department of Theatre and Dance
is to provide exciting and challenging educational experiences for students as well as high
quality theatrical experiences for audiences. We will provide a rich blend of traditional
classroom and hands on laboratory/performance opportunities that will prepare students for entry
into professional careers in Theatre, graduate study in Theatre or to support and strengthen
students in other fields such as education, business or ministry. We will provide a challenging
variety of theatrical experiences that enrich the artistic, intellectual, cultural and spiritual life of
the community in which we live.
THEATRE CONTACT INFORMATION
Conference & Events Services
College of Fine Arts
Susan Hanlon
Admin Assistant
Marilyn Reineck
Dean
Department of Theatre
Mark Rosenwinkel, M.F.A.
Department Chair, Director,
Acting/Directing Professor
651/603-6163
MU111
651/641-8248
hanlon@csp.edu
MU112
651/641-8258
reineck@csp.edu
TH109
651/603-6209
rosenwinkel@csp.edu
James Seemann, Ph.D.
Resident Designer
TH125
651/641-8896
seemann@csp.edu
Zachary Humes .
Technical Director,
Facilities Manager
TH129
651/641-8774
humes@csp.edu
Kay M. Robinson, Ph.D.
Resident Costumer
THR 123
651-641-8891
krobinson@csp.edu
Jan M. Puffer
Choreographer
Dance Professor
THR 107
puffer@csp.edu
FAX
651/603-6260
Green Room
THR 133
Scene Shop
THR 131
651/641-8774
Costume Studio
THR 123
651/641-8891
Box Office
(performance hours only)
THR 106
651/641-8263
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MEET THE FACULTY
Jim Seemann, Resident Designer
Jim Seemann, Ph.D., came to Concordia from Boston, Massachusetts, where he worked in
professional scene shops as a designer, project manager, and charge scenic artist. He has
participated in a variety of jobs with clients such as the Boston Ballet, the Boston Museum of
Science, Polaroid, and Walt Disney Productions. Prior to that, he served at Theatre Memphis for
nine years as a production manager and scenic designer where he received eleven regional awards
in over fifty plays. His educational experiences include teaching at Lincoln University, Viterbo
College, the University of California at Irvine, the University of North Dakota, and the University
of Wisconsin-LaCrosse. He majored in art at Valparaiso and received a Colloquy from Concordia
River Forest.
Mark Rosenwinkel, Department Chair, Resident Director, Acting/Directing Professor
Mark Rosenwinkel’s professional acting career spans nearly three decades, and includes work with
most of the major Twin Cities theatres, including the Guthrie and Chanhassen Dinner Theatres, as
well as the Asolo Theatre in Florida and the Illinois and Idaho Shakespeare festivals. A member of
the Playwrights’ Center, he has also been the recipient of numerous awards in playwriting, most
notably the 2002 Writers’ Digest Literary Award for Best Play (Sanctus). His play Wellstone!,
based on the life of the late Minnesota Senator, premiered at History Theatre in St. Paul in 2006,
and his adaptation of Lois Lowry’s novel, The Giver, recently premiered at Stages Theatre in
Hopkins. A 1977 graduate of Concordia College, St. Paul, he currently serves as Program Director
for the Concordia Summer Music Theatre Camp for junior and senior high school students. He
holds an M.F.A. in theatre from the Asolo/FSU Conservatory for Actor Training in Sarasota,
Florida.
Zachary Humes, Technical Director and Facilities Manager
Zachary Humes is a sound and lighting designer originally from Cleveland, Ohio, with a degree
from Miami University of Ohio. He has designed regional and world premiere productions for
Theatre de la Jeune Lune, La Jolla Playhouse, Mixed Blood Theatre, Brave New Workshop,
Cleveland Public Theater, and for numerous unknown playwrights in small venues across
Minneapolis.
Kay M. Robinson, Resident Costume Designer
Kay M. Robinson started undergraduate school as a Home Economics and English major, but
eventually figured out she belonged in Theatre, earning a Ph.D. in Theatre from Michigan State
and an M.A. from the University of Illinois. Dr. Robinson has worked in many areas of theatre,
directed dozens of shows and costumed more than 100, and has taught theatre at the university
level for more than 30 years. Areas of special interest are costuming, Asian theatre, and theatre
history. As well as designing for Concordia, Kay regularly costumes for other Minnesota theatres,
including the Old Log and the Jon Hassler Theater.
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Jan Puffer, Resident Choreographer, Dance Professor
Jan Puffer is a teacher, choreographers, and actress, recently cited by the City Pages as Best of the
Twin Cities: Tap Dance with Jan Puffer and Best Community Education Class. Her choreographic
work includes many productions at the History Theatre, Park Square Theatre, Old Log Theatre,
Theatre L’Homme Dieu, Totem Pole Playhouse in Pennsylvania, Michigan’s Meadow Brook
Theatre, Harrah’s Atlantic City, Caesar’s Palace Lake Tahoe, as well as the national tour of Little
Shop of Horrors. She is currently a Guthrie Theatre Teaching Artist. As an actress, Jan has
appeared at La Mama ETC., Ubu Repertory Theatre, the Attic Theatre, and locally at the History
Theatre, Old Log Theatre, and the Playwrights’ Center. A graduate of the Academy of Dramatic
Art, she also holds a B.F.A. in Dance from Florida State University.
Philosophy
The Department of Theatre and Dance will abide by the philosophy that each student who
seeks it out will be given the opportunity to gain a comprehensive background in all major
aspects of theatre. Academic theory will be interrelated with practical application through the
student participation in theatrical productions.
The Department of Theatre and Dance will offer a liberal arts program in theatre for the
specialist as well as the generalist. Courses of study are structured to lead the theatre major or
minor and dance minor as well as meet the needs of those students interested in incorporating
theatre into their education or ministry programs. Concordia University also believes that its
curricular and production programs must be comprehensive and suitably sophisticated so that the
student who possesses the drive, intelligence, and talent can take full advantage of the
opportunities here and will be well-equipped to enter graduate school, or to begin an
apprenticeship leading to work in professional theatre.
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Goals
The following goals have been established for the theatre and dance program:
1. To provide a balanced curriculum rooted in the fundamental aspects of the arts and crafts
of theatre and dance.
2. To incorporate the latest theoretical and practical developments in theatre and dance.
3. To provide introductory courses which serve the liberal arts general elective needs of the
campus community.
4. To provide fundamental liberal arts experience for students whose interest in theatre is
avocational.
5. To provide fundamental training and guidance for students whose vocational goal is
professional theatre and dance.
6. To stage a season of public theatrical productions, representative of various styles and
periods, for the campus, the university’s constituencies, and the community at large.
Educational Objectives
A student graduating in Theatre Arts from Concordia University will be able to:
1. Demonstrate fundamental knowledge of theatre crafts.
2. Incorporate computer skills into scholarly research, design realization, and the production
process.
3. Analyze texts from the designer’s, director’s, actor’s, and dramaturg’s perspective and
articulate artistic concepts and ideas that emerge from that analysis.
4. Create and present a design concept of a text for sound, lighting, scenery, properties, and
costumes.
5. Direct a script demonstrating effective analysis/interpretation of the script, develop a
ground plan, learn effective communication and organizational skills, and work with
actors, designers, and technicians.
6. Create an acting role demonstrating research, writing, analytical, vocal, physical, and
creative skills, as well as the ability to work effectively as a member of a cast.
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7. Write sensitively, critically, and analytically on multicultural texts including: the
theoretical/historical contexts of dramatic literature, and the history of theatre
productions.
8. Evaluate components of a theatre-going experience from a historical, theoretical, critical,
directorial, design, and performance point-of-view.
Theater Major & Minor
If You are Considering a Theatre Major or Minor
If you wish to major or minor in Theatre, but are not sure at present, there are a few choices that
will help you make up your mind and facilitate completing the major when and if you declare.
Take THR 101 (Introduction to Theatre) as soon as possible.
Get involved in production. Sign up for audition times, backstage positions, or work crews on the
call board in the main Theatre hallway.
Take Stagecraft (THR 251) to get a hands-on taste of backstage work.
Take Acting I (THR 221) to learn about creating a role.
Declaring a Major in Theatre
Please declare your major in Theatre as soon as possible, but no later than the end of your
sophomore year. Declaring early will also facilitate planning if you wish to study abroad or do an
internship. The application forms are included in this handbook for you to Xerox and fill out.
Transfer Students
Transfer students who major in Theatre must take at least half of their required Theatre courses
at Concordia University, St. Paul. Theatre minors must take all but two required courses in
residence.
If you are transferring courses from other universities, you must go through a two-step process.
First, at the Registrar’s Office, the university will determine if the credit is transferable. If it is, it
will count toward the number of credits you need to earn a degree at CSP. Next, you must review
the courses you took elsewhere with the Chair of the Theatre Department to determine whether
or not they count towards fulfillment of the departmental requirements. It will be helpful to show
the Chair the course syllabus and any other materials you have retained from the course (e.g
papers, texts, etc.).
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THEATRE AND DANCE COURSE OFFERINGS
THR 101 Introduction to Theatre - 2 credits
Fine Arts component of the General Education Curriculum. Prerequisite to major/minor.
This course introduces the student to basic history, theory, production, and performance elements
of theatre arts.
THR 111 Theatre in Practice I – 1 credit ****
Concordia’s theatre department, in service to campus and community, offers opportunities for
involvement in major theatre productions, workshop dramas, and various experimental
undertakings during the school year. Auditions for all productions are open to all Concordia
students. This course can include work on theatrical productions as actors and/or crews.
THR 112 Theatre in Practice II – 2 credits ****
Credit is given for major involvement in theatre productions, workshops, and other approved
situations. Major involvement is defined as activities such as stage managing, assistant directing,
designing, and directing projects. (Prerequisite: consent of the instructor)
THR 160 Introduction to Dance – 2 credits
This course studies the fundamental principles, practices, and vocabulary of the basic movement
skills of dance, introducing it as both an art form and exercise activity. The basics of modern,
ballet, and jazz dance movement are incorporated to provide a wide overview of dance history
and practical technique through readings and studio movement participation. Students are
introducted to each dance style with a focus on body awareness and alighnment. Warm ups and
across the floor movement are incorporated to develop strength, flexibility, musicality, and
coordination. No prerequisite required.
THR 162 Modern Dance Technique I – 2 credits
In this course, students are introduced to the basic movements, concepts, and technique of
modern dance with a focus on breath, strength, alignment, and flexibility. Students learn about
the peioneers of modern dance (Loie Fuller, Isadora Duncan, Ruth St. Denis, Doris Humphrey,
Martha Graham) as well as the current contributors to the dance form, regarding their stylistic
contributions and differences. Reading assignments and quizzes are iven in addition to the
technique class. Students learn and perform a modern dance piece during the semester and
perform in the final Student Showcase. Prerequisite: THR 160 or permission of the instructor.
THR 163 Jazz Dance Technique I – 2 credits
This course introduces and practices the basic movement, dance terminology, and style of jazz
dance technique, focusing on stretch, strength, body awareness, rhythmic ability, and
coordination. An appreciation and study of the origins and evolution of jazz dance, along with
its major contributors, is emphasized. The technique class focuses on jazz dance vocabulary and
steps, isolations, center combinations, and across the floor patterns. Students learn a
choreographed jazz dance and perform in the final Student Showcase. Prerequisite: THR 160 or
permission of the instructor.
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THR 164 Ballet Technique I – 2 credits
This course introduces the basics of classical ballet. Students learn the basic positions of the feet
and arms, fundamental ballet steps, and French terminology, through barre exercises, center floor
work, and across the floor patterns. This class emphasizes ballet vocabulary and style, proper
body alignment, strength, flexibility, and musicality. Students learn a choreographed ballet piece
and perform in the final Student Showcase. Prerequisite: THR 160 or permission of the
instructor.
THR 165 Tap Dance Technique I – 2 credits
This course is an introduction to the fundamental vocabulary and technique of tap dance, its
history as an art form, and its major contributors to the style. Students learn a basic technical
foundation, with an emphasis on the building block steps (spank, shuffle, flap, cramp roll, Shim
Sham, Maxie Ford) while also concentrating on proper articulation and execution of movement.
Students work on a choreographed routine and perform in the final Student Showcase.
Prerequisite: THR 160 or permission of instructor.
THR 201 Dance for Musical Theatre – 2 credits ****
Through the study and practice of the various styles of dance used on the musical theatre stage,
such as ballet, modern, jazz, and tap, this course focuses on dance technique, character
development through movement, and performance skills. Execution and exploration of
choreographed pieces from musical theatre repertoire are taught and performed in the final
Student Showcase. Students are introduced to a wide dance vocabulary as well as to the major
contributors/choreographers of Musical Theatre. Prerequisite: THR 160 or permission of the
instructor. May be repeated for up to 8 credits.
THR 203 Creative Dramatics – 2 credits
Students enrolled in this course study and practice methods and activities in creative dramatics
for the classroom, parish, business, and family. Special emphasis is placed on activities designed
to help students to express their own natural creativity and for these students, as future leaders of
groups, to help others to express their own natural creativity as well.
THR 221 Acting I – 4 credits
Students learn and develop basic techniques for approaching the acting process – relaxation and
energizing, imagination and spontaneity, concentration and focus, improvisation, making
choices, using the voice, face, and body and character analysis – through scene and monologue
work.
THR 225 Stage Management – 2 credits
This course is an introduction to the concepts, principles, and practices of stage management in
the contemporary theatre. Students will receive classroom instruction on the theory and practice
of stage management, participate in workshop application of stage management techniques, and
participate in departmental productions. Students will study a major text in stage management as
well as develop a stage manager’s portfolio.
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THR 241 Script Analysis – 4 credits
Students will analyze a variety of performance texts from differing perspectives. A traditional
approach incorporating literary analysis to understand the internal workings of the text on paper
will be combined with an examination of the text as it may be translated into performance, from
the perspectives of the designer, director, and actor.
THR 251 Stagecraft – 4 credits
This course provides an introduction to the scope, tools, materials, and practices of stagecraft and
technical management in the theatre today. The course utilizes formal lectures, group discussion,
outside projects, attendance at outside theatre productions and practical lab sessions to cover the
material presented.
THR 253 Make-up for the Stage – 2 credits
Fundamentals of two and three-dimensional stage make-up through the character analysis, design
and application. Extensive practical experience through laboratory and possible crew work on
departmental productions. Each student will be required to purchase his or her own make-up
materials.
THR 260 Dance History I – 2 credits
A survey of dance history from origins in ancient civilizations up to the twentieth century, this
course examines the function ofdance in a social, political, religious, and cultural context.
Through text reading, research projects, and viewing, students will analyze the development of
dance, its significance and role in history. No prerequisite.
THR 261 Choreography/Composition I – 2 credits
This course discusses and explores the process of dance making, by studying the principles of
composition and the thematic development and organization of movement material. Students
work on and study basic choreographic elements and principles (rhythm, space, time, dynamics)
using movement exploration, improvisation, and other creative skills to develop compositions,
with a concentration on solo or small group dances, which are performed in the final Student
Showcase. Prerequisite: THR 160, 161, 162, or 163.
THR 262 Modern Dance Technique II – 2 credits
This course is a continuation of the study of movement skills taught in THR 162, with an
emphasis on further developing strength, flexibility, and vocabulary of principles of modern
dance. Students work on more complex combinations, increased technical skills, and refined
movement phrasing. Along with increased technical articulation and clarity of movement,
students work to develop artistic expression, stylization, musicality, and performance skills. A
choreographed modern piece is taught and performed in the final Student Showcase.
Prerequisite: THR 160, 161, or 162.
THR 263 Jazz Dance Technique II – 2 credits
This course is a further study of the movement skills, vocabulary, and principles of jazz dance
style taught in THR 163. Students work on more advanced rhythms, combinations, individual
expression and artistry through choreographed pieces that are performed in the final Student
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Showcase. Special emphasis is put on increased strength, flexibility, increased technical skills,
and performance ability. Prerequisite: THR 160, 161, 163, or 164.
THR 264 Ballet Technique II – 2 credits
This course is a further study and practice of classical ballet technique and expands students’
work upon material taught in THR 164. With a focus on body alignment, increased strength and
flexibility, and technical accuracy and proficiency, this class concentrates on more complex
movement variations, increased ballet vocabulary, individual expression, artistry in execution of
movement, and performance quality. Along with a complete barre and technique class, students
work on choreographed pieces that are performed in the final Student Showcase. Prerequisite:
THR 164 or permission of instructor.
THR 265 Tap Dance Technique II – 2 credits
A continuation of the study of tap technique taught in THR 165, this course builds on that basic
foundation and focuses on more complex steps (time step combinations, pull backs, turns),
various rhythms, and advanced combinations. Students work to increase articulation, clarity,
speed, vocabulary of steps, and performance skills through technique class and through learning
choreography that is performed in the final Student Showcase. Prerequisite: THR 161, 165, or
permission of the instructor.
THR 291 Topics in Theatre – 2-4 credits
This course offers in-depth analysis of a selected topic in theatre such as film, children’s theatre,
drama in worship, stage management, or theatre management in a seminar setting. The needs of
students and interest of the theatre faculty determine content.
THR 301 New York Theatre Tour – 2 credits
Faculty will lead a one week exploration of contemporary theatre in New York City. Participants
will attend several productions and will participate in discussions following each performance.
Additional fee.
THR 302 London Theatre Tour – 2 credits
Faculty will lead an exploration of contemporary theatre in London. Participants will attend
several productions and will participate in discussions following each performance. Duration of
the tour will range from one week to ten days. A reaction paper is required after returning.
Additional fee.
THR 321 Acting II – 4 credits
Further principles in developing a character are learned through more monologues and scene
work. Advanced techniques of breathing, rhythm, focus, and facial mask are taught to help the
student explore the field of potential and lead the actor out of the known and into the unknown.
(Prerequisite: THR 221 or consent of instructor)
THR 324 Voice and Movement for Actors – 4 credits
During the first 7 weeks of the course, students will explore the mechanics and elements of
movement, including an examination of non-verbal communication, neutral and character mask
work, and the creation of physical characterizations. During the last 7 weeks of the course,
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students establish the foundations of a healthy vocal technique based on breath, relaxation of the
body, and proper vocal support.
THR 328 Acting for the Camera – 4 credits
The purpose of this course is to increase the camera acting skills of the student by raising the
actor’s ability to understand, negotiate, and use the video production proves. Students will
demonstrate growth in camera acting skills measured by rehearsal and video taped performance.
(Prerequisite: THR 221)
THR 355 Scenic Design – 4 credits
This course is an introduction to the theory and techniques of scenery design. Three subject areas
are combined to formulate the scope of the course: literature analysis, aesthetic design –
techniques and materials, pragmatic design – production, and organization. Attendance at area
theatre productions is required. (Prerequisite: THR 251 or consent of instructor)
THR 357 Lighting and Sound – 4 credits
This course is an introduction to the theory and the techniques of lighting and sound design for
the stage. Three subject areas in both aspects of theatre will be discussed in this course: basic
understanding and connection of the equipment, basic design, and a basic understanding of the
aesthetics of sound and lighting design. Laboratory hours required. (Prerequisite: THR 251 or
consent of instructor)
THR 360 Dance History II – 2 credits
This course examines some of the influential choreographers and works of the 20th Century from
the early pioneers of modern dance such as Loie Fuller, Isadora Duncan, Ruth St. Denis, and
Doris Humphrey, through post-modernism and the works of major contributors such as George
Balanchine, Martha Graham, Alvin Ailey, Merce Cunningham, Twyla Tharp, Mark Morris, and
others. Areas of study, through viewing, reading, lecture and discussion, and research projects,
include dance criticism, identification of 20th Century dance themes, aesthetics, music, and
styles. Prerequisite: THR 260.
THR 361 Choreography/Composition II – 2 credits
This course is a further study and practice of the dance composition techniques taught in THR
262. The class investigates areas of the creative process, methods of dance-making, exploration
of new movement material, and compositional tools, implementing music and dance, dance
criticism, and aspects of contemporary dance history. Through lectures, viewing, reading and
research projects, students analyze choreography and apply various components to developing
their own studies in solo, duet, and trio works which are performed in the final Student
Showcase. Prerequisite: THR 262.
THR 362 Body Conditioning – 2 credits
This course is an introduction to and practice of the principles and techniques for increasing
stretch, strength, flexibility, alignment, and endurance through combining the core conditioning
of Pilates mat work with the strength and flexibility developed from Yoga poses and practices.
The class is designed for both the dancer and the non-dancer, athlete, or anyone wishing to
increase their core strength and flexibility. No prerequisite.
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THR 445 Theatre History, Theory, and Literature I – 4 credits
A survey course covering the history, theory, and literature of theatre from the beginnings of
performance up to the early Renaissance in the west. Readings of primary sources are combined
with secondary sources such as video and attendance at live theatre events to form a theoretical
and historical context for specific periods of development and specific dramatic works.
THR 446 Theatre History, Theory, and Literature II – 4 credits
A survey course covering the history, theory, and literature of theatre starting from the
Renaissance in the west up to modern theatre of “performance” in the variety of contexts we may
study today. Readings of primary sources is combined with secondary sources such as criticism,
video, and attendance at live theatre events to form a theoretical and historical context for
specific periods of development and specific theatre texts.
THR 478 Directing – 4 credits
Studio course focusing on the basic fundamentals of stage direction. Script analysis and
directorial concepts are executed throughout the semester in preparation for a final prepared
performance in the form of a one act play or excerpt from a full-length play. As directing
requires knowledge of many aspects of the theatrical art, this course is seen as a culminating
activity taken after a solid foundation of other theatre course work. Attendance at area
productions is required. (Prerequisite: Consent of the instructor)
THR 488 Independent Study in Theatre – 4 credits
Independent study offers students an opportunity to investigate and study an area of theatre of
their own choosing.
THR 492 Drama in the Life of the Church – 4 credits
A comprehensive survey of the methods of incorporating drama in the life of the church.
Students will be given a brief overview of the history and theory of drama in the church. The
main thrust of the course will be dedicated to the writing, designing, building, acting, directing,
and producing original Christian dramas by the students to be incorporated into their specific
area of church work (Director of Christian Outreach, Director of Christian Education, Pastor,
Layperson). Rehearsal outside of class and performance in campus chapel is required.
THR 498 Theatre Internship – 4-16 credits
Students participate in a first hand theatre experience at a local professional or semi-professional
theatre. The student through observation and/or direct involvement learns practical application of
drama theories and theatrical principles. The student and internship advisor select an appropriate
internship site that meets the needs and interests of the student.
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Information for Majors
Course and Production Work Portfolio
All Theatre majors are required to assemble a portfolio of their course and production work as
they progress through the major. The portfolio should provide examples of your development
and best work in your theatre specialty and in related theatre areas. It will provide the basis for
your resume when you graduate and seek professional work or further education. Guidelines for
the creating of portfolios are provided under separate cover and are available from Professor
Robinson. Professor Seemann can assist designers and technicians in the setting up of their
portfolio. Professor Rosenwinkel can assist in setting up of a performer’s or director’s resume
and give advice on head shots.
The Capstone Experience
All Theatre majors must complete a capstone experience that should serve to showcase the
competence they have developed in their theatre specialty. In spring of the junior year, you will
meet with your advisor to review your portfolio and determine what form your senior project
should take. You will then bring a written proposal to the department. Past seniors have chosen
projects in many areas. Some examples of successful projects: lighting design for a department
production, research paper on medieval stage techniques, direction of a play, rehearsed reading
of an original work for theatre, critical essay on works of Edward Albee, a one-person showcase,
reflection paper on performance of a role. Guidelines for the capstone project and proposal
forms are provided under separate cover and are available from Professor Robinson.
A written proposal for the capstone experience must be submitted to the department by the end
of the junior year. The capstone may be taken for credit as THR 112.
Faculty-Student Projects
Theatre students are encouraged to engage with faculty in collaborative research or creative
work. Production work offers many opportunities for faculty-student collaboration. Students
commonly work with faculty as the production dramaturg or stage manager. Those with strong
interest in direction who have taken THR 478 may co-direct a play with a faculty member or
direct a play with faculty supervision. Those with strong interest in design, who have taken the
appropriate courses, may design all or part of a production with faculty supervision.
Internships
Each year the Department of Theatre receives notices of various opportunities for students to
intern or participate in workshop opportunities with theatres or performing companies in the
Twin Cities. We urge students to take advantage of these opportunities. Academic credit can be
arranged.
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Pro Artibus Award
Students who excel in course and production work are eligible for the Pro Artibus Award for
outstanding contributions in Fine Arts. The awards are given annually by the Departments of Art,
Music and Theatre. Criteria for the award are outstanding academic achievement, emotional
maturity and significant accomplishment in the field.
Department Stage Productions
For the Theatre Major and Minor, theatre production serves as a laboratory for learning the skills
necessary in contemporary theatre practice. For the non-major, it offers a co-curricular
opportunity.
Main Stage Productions
The Department produces three to four stage productions of its own each year. As the major
focus of departmental performance activity, the main stage performances are fully funded,
carefully scheduled activities. Main Stage productions are performed in both the E. M. Pearson
Theatre and in the Westlund (Black Box) Theatre. The season is chosen by the faculty, given
available talents, resources and time, on the basis of a rotating guideline that builds a cycle of
productions from various cultures, traditions, styles, and ages. The intent of the department is
that through the course of a four year program, the student will have experience with a range of
dramatic types and forms. Each annual season will include at least one musical. A strong effort
is made to include a verse play, such as Shakespeare, every other season. The season is
determined by April of the preceding year.
All Majors, Minors and/ or students on scholarship are required to
participate significantly in all Concordia Main Stage productions.
Auditions
Auditions usually take place at the beginning of the school year and at the beginning of the
second semester. Notices are posted on the call board in the main hallway of the theatre and
around campus. If you have questions about when the next auditions are scheduled, inquire with
any faculty member. You do not need previous experience, and you do not have to be a Theatre
major to be cast in a department production. Advance preparation is not required unless
otherwise specified, but if you wish to prepare, you may obtain a copy of the script from the
director.
Students who audition will be asked to fill out an audition sheet and provide a headshot (or pose
for a Polaroid snapshot). Most auditions then proceed by asking the students auditioning to stand
up and read a scene from the script with others auditioning. Students may also be asked to
participate in group movement exercises or do some improvisation. Often, for the verse play,
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students are encouraged to prepare a short monologue. Students auditioning for the musical will
be asked to sing a prepared song and may be asked to participate in group dance exercises.
Call-back lists and cast lists are posted on the callboard in the main hallway of the theatre
building. The director will inform everyone at auditions when the call-back list will be posted.
Crew and Work-Study
The shop and stage crews construct sets and costumes, assist with lighting and sound, and
provide general production assistance. Students interested in working on a crew should contact
the Technical Director, Zachary Humes, at (651) 641-8774. In addition to volunteer
opportunities, the Theatre Department offers a number of work-study positions in the scene and
costume shops. To work in the scene shop, students should have a minimum of two consecutive
(preferably three) hours available one or more afternoons per week. No previous experience is
required, but a willingness to engage in hands-on learning, the ability to take direction and act
responsibly, and a positive attitude toward work and getting dirty are required. Costume
assistants should be able to do basic sewing, mending, and laundry. The course in Stagecraft
(THR 251) is recommended but not required for those interested in work-study positions.
Outside Group/ Rental Performances
A number of companies from around the Twin Cities area perform in the Concordia Theatre Arts
Center throughout the year. Dance, Opera, Theatre and even corporate groups do presentations
or meetings in the space. Typically these companies hire technical and front of house staff from
our pool of available workers. Concordia University students who are trained and approved by
Concordia Theatre faculty are eligible to work during rental period.
The Good News Players
The Department of Theatre has cooperated with the Concordia College of Vocation and Ministry
in the production and touring of a children’s drama ministry called the Good News Players.
Written and directed by Concordia Professor Dr. Jeffrey Burkart, the group has performed
around the country at schools, churches and youth gatherings
Showcase
From time to time the Department sponsors special projects by students. The showcase may be a
student directed full length play, one-person shows or staged readings. This type of work must
be approved and scheduled through the Department Chair. The showcase is mentored by faculty
and given a small budget.
One Act Festival
Every other fall semester, the Directing class presents a series of One Act plays and/or long
scenes. Auditions are normally held in October. These performances are performed with
minimal scenery and technical support. Typically, this provides many roles for people of all
levels of experience. The student directors for the winter production slot in the Westlund
Theatre are selected based on the work exhibited in this festival.
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Shakespeare Under the Stars
Each fall, typically near the beginning of October and late at night, students and faculty gather in
the outdoor amphitheatre in front of the Theatre Center to present monologues and scenes from
Shakespeare’s works by firelight. There are no auditions and anyone is welcome to present or be
an audience member (or both).
Responsibilities of Cast and Crew
Theatre is a collaborative art. Each participant is an important part of the whole. It is, therefore,
imperative that each person involved in a production takes her or his responsibility seriously.
The following guidelines indicate departmental expectations for members of the cast and crew in
productions.
Expectations for Cast Members
Time conflicts should be listed on the audition sheet. If you have a time conflict during the
rehearsal period, communicate with the director immediately. A director may use his/her
discretion in accommodating conflicts.
Attend all rehearsals for which you are called. If you are unable to come to rehearsal because of
illness or an emergency, call the director or stage manager as soon as possible.
Be on time and ready to go at the call time for all rehearsals and performances. If you need extra
time to settle in, socialize, etc., arrive early.
Do not change the style or color of your hair without consulting the costumer or director.
Be on time for costume fittings. Cancel only if absolutely necessary, and in that case, call the
costumer before the fitting to reschedule – preferable, at least 24 hours before the scheduled
fitting.
Be respectful toward all other production personnel – cast, crew, and staff. Remember that
friendly inclusiveness builds ensemble spirit and will result in a better show.
Do not distract other members of the cast during your off-stage time in rehearsals. If you watch
rehearsals, support the creative process of other cast members and director by refraining from
judgmental comments or actions.
Memorize lines and blocking by the time given in the rehearsal schedule, and work to the best of
your ability with any reasonable suggestion from the director. If you are having a problem
understanding or performing lines or following the director’s suggestions, speak to the director
about it.
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Use costumes and props only when needed in the production, and replace them properly in their
assigned places backstage.
During final rehearsals and performances, maintain quiet backstage all times.
Do not leave the backstage areas in costume. As a general rule, cast and crew should not greet
people in the lobby after the performance until out of costume. Often the Black Box or side
hallway is available for cast and crew to greet people backstage after the show. On rare
occasions, such as for performances of Gospel Time in Gospel Rhyme, actors will greet
audiences as they leave the theatre through the lobby.
Inform your family and friends that no photos, videos, or cell phones are allowed during
performances.
All Majors, Minors, and students on scholarship
are required to be at strike for every production.
Expectations of cast regarding costume care, management and use
Costumes are to be worn only during dress rehearsal and performance and only in the theatre and
dressing areas.
If you find something about your costume that needs adjustment, bring it to the attention of the
costumer; do not substitute or modify any item in any way.
Apply makeup with consideration for costume pieces worn near the neck. If you don’t need
excessive make-up, don’t use it.
Try to keep costumes as fresh and clean as possible. Dry cleanables will only be cleaned after
strike. Hang costumes neatly on hangers. This will keep them looking their best, and it will air
them out between performances.
Use your accessory bag for all small items. You are accountable for every part of your costume.
Just as you check your props, check your costumes before each show. Report missing items
immediately.
Help each other. Some people will have down time when others are very rushed. Be alert to
those who are making quick-changes. Assist with the change only if you are assigned to it or are
asked to help.
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Expectations for Crew Members
When you accept a position on a CSP production, you are to take responsibility for the
following:
Members of the crew are to be on time for any call. Tardiness is only acceptable in case of an
emergency. If you are going to be late, please call the Technical Director and Stage Manager as
soon as possible.
Once the crew arrives at the call, they are to immediately begin their assigned duties.
Disrespect to actors, patrons, and fellow crew members will not be tolerated. Any complaints
should be given directly to the Technical Director or the Director.
During performance runs, the crew is expected to dress in a fashion in which any duty can be
completed. Always prepare to be active. All articles of clothing will be black and will have no
printing on them. Small logos are acceptable.
When the performance is completed, crew members will carry out their shut down duties and
will not leave until they are completed.
It is vitally important that the directions of the Stage Manager are heard and carried out in an
efficient manner. The crew is therefore expected to be quiet backstage and keep all unnecessary
chatter off the headsets.
Respect will always be given to the Stage Manager, Technical Director and Director.
Inform your family and friends that no photos or videos are allowed during performances.
All Majors, Minors and students on scholarship
are required to be at strike for every production.
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Concordia University Department of Theatre
Alcohol and Drug Policy
The Department of Theatre expects all students to comply with the alcohol and drug policies of
Concordia University, St. Paul. These policies are published in Section 106 of the Concordia
University Student Guide and are available to all students on-line.
Because of our ongoing concern for safety in the theatre, and because we recognize that theatre
work is potentially dangerous at all times for participants and patrons, the Department of Theatre
has adopted a zero tolerance policy for alcohol and drug use which requires these additional
restrictions:
1. There is to be no consumption of alcohol or use of controlled substances prior to or
during any theatre work. All people working on Concordia University Theatre
productions are to come to the theatre sober at all times, with no exceptions.
2. No one working on a Concordia Theatre production is to facilitate the consumption of
alcohol or drugs by others in any way.
3. If you observe others under the influence, in the act of consumption, or in the act of
facilitating the consumption by others, you are to report the fact to the nearest Concordia
faculty or staff member; or if you are working on a rental, report to Director of
Conference and Events, the Resident Technical Director, or Resident Stage Manager.
If a student is discovered to be under the influence while engaging in theatre work or consuming
or possessing alcohol or drugs while in the theatre, the following consequences will occur:
-
The student will be asked to leave the theatre immediately.
-
The student will be fired from the show and referred to the Dean of Students for
appropriate disciplinary action as per the university alcohol and drug policies and
procedures.
-
After the first offense, the student will be allowed to work on the next Concordia
University Theatre production under a probationary status.
-
After the second offense, the student will not be allowed to work on any further
Concordia University Theatre productions.
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Theatre Scholarship Application
PLEASE PRINT OR TYPE
Name _________________________________________
Last
(____)________________
First
Phone
Address ________________________________________________________________
Street
City
State
Zip
Email_____________________________
High School Grade Point Average (number or letter)__________ ACT Score _________
List any theatre training or courses you may have completed.
________________________________________________________________________
Please attach a resume or list of theatre experiences.
Have you had any vocal training?
Y N
Years of training ________________
Private lessons ________________
Have you had any dance training?
Years of training ________________
Y N
Anticipated program in college (theatre major, minor, emphasis) __________________
Career Goals _____________________________________________________________
Guidelines:
1. All applications must be received by February 15, 2011.
2. Each application must be accompanied by two letters of recommendation from persons familiar with your
theatre ability.
3. All applicants must be present for a live audition and interview. If excessive distance from the university
prohibits a live audition, a tape will be accepted if received by February 15, 2011. Technicians may present a
portfolio in place of an audition.
Appointments for auditions/ interviews may be made by calling Mark Rosenwinkel, Department Chair, at 651603-6209.
4. To be considered for theatre scholarships, students must:
a) Be accepted for admission by the audition date.
b) Have a financial aid estimator form on file at Concordia by the audition date.
c) Must be a full-time traditional undergraduate student at Concordia for 2011-2012.
5. Awards will be of varying amounts depending on program selections (major, minor, emphasis)
6. Recipients are expected to participate actively in theatre department productions and course work.
7. Students may reapply for sophomore, junior and senior scholarships.
Please return this form to: Prof. Mark Rosenwinkel
Department of Theatre
Concordia University
275 Syndicate St N
St. Paul, MN 55104-5494
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Department of Theatre
Senior Exit Interview
Please bring the following to your exit interview:
1. Portfolio (updated as suggested during the portfolio review earlier in the year)
2. Current audition materials (performers)
3. Capstone written report
Reflection Questions (Prepare written and oral response.)
During your undergraduate theatre career:
1. Where has your personal growth occurred?
2. What would you change about your learning experiences if you could?
3. What would you leave the same about your learning experiences?
4. Where are you headed in your theatre career?
5. What do you still need help with to continue developing in your career?
6. How have you changed your perception of the theatre?
7. How have you changed your perception of yourself as a theatre practitioner?
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What Theatre Majors Learn
(From an article by Louis E. Catron, California Educational News, 1995)
23 skills and traits usually well-developed in students who
complete a 4-year undergraduate, liberal arts theatre
degree:
1. Oral communication skills
2. Creative problem-solving
abilities
3. Self-motivation
4. A willingness to work
cooperatively
5. The ability to work
independently
6. Time-budgeting skills
7. Personal initiative
8. Promptness & respect for
deadlines
9. Acceptance of rules
10. The ability to learn quickly
11. Respect for colleagues
12. Respect for authority
13. Adaptability and flexibility
14. Ability to work under
pressure
15. A healthy self-image
16. Acceptance of disappointment
17. Self-discipline
18. A goal-oriented approach to
work
19. Concentration
20. Dedication and commitment
21. A willingness to accept
responsibility
22. Leadership skills
23. Self-confidence
Qualities in Theatre Majors valued by business
executives:








Self-discipline
Loyalty & Dependability
Leadership skills and
experience
Self-confidence
Energy & Enthusiasm
Ability to work under pressure
Polished communication skills
Team-work skills and
experience






Experience meeting challenges
Experiences learning
complicated, hands-on tasks
Imagination and creativity
Problem-solving skills
Reasoning and sound judgment
Ability to work on intellectual
and physical problems
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