2016-17 u.s. scholar application form u.s. fulbright ... · unatc is lobbying to add theatre into...

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SUBMIT THISAPPLICATION

ONLINE

1. Country of Interest or Regional/Global Flex Program:

2. Award Number:

3. Type of Activity:

4. Title: 5. Name:

6. Preferred/Nick Name:

7. Current academic or professional title:

Start Date of Current Position:

8. Professional address

Country

9. Date of Birth

Professional Profile: Employment Information

Other academic or professional title:

Province/State

Institution

Institution Other

School

Department Name

Address 1

Address 2

City

Telephone

Email

Zip

Fax

10. City of Birth State of Birth

Country of Birth

11. Country of Citizenship

Second Country of Citizenship

12. Date of Naturalization

13. Gender 14. U.S. Veteran

Romania

6307 | All Disciplines

Teaching

Dr. McTier David Allan

Dave

Professor

August / 2012

United States

Sam Houston State University - Huntsville, TX

College of Fine Arts and Mass Communications

Theatre and Musical Theatre

Box 2297

Huntsville

9362941329

77341

9362943898

[email protected]

November / 07 / 1959

Ft. Riley Kansas

United States

United States

United States

male No

/ /

TexasState(if home country is U.S.)

(if home country is not U.S.)

For Regional Awards, Global Flex, or TEFL award only:

FULBRIGHT SCHOLAR PROGRAM2016-17 U.S. Scholar Application Form

ApplicationU.S. Fulbright Scholar Program

Program

Are you a postdoctoral applicant? No

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Name of Institution

Academic Credentials

CityUniversity of Texas

Austin State Texas

Country Discipline Other DisciplineTheater Name of Degree Received PhD August / 1995Degree Date

United States

Institution Two Name of Institution City

Indiana UniversityBloomington State Indiana

Country Discipline Other DisciplineTheater Name of Degree Received MA December / 1984Degree Date

United States

Institution Three Name of Institution City

University of GeorgiaAthens State Georgia

Country Discipline Other DisciplineTheater Name of Degree Received BA June / 1981Degree Date

United States

Institution Four Name of Institution City State Country Discipline Other Discipline Name of Degree Received / Degree Date

B. Primary Specialization History of Drama

16 A. Academic Discipline Drama/Theater Arts

17. List your five most significant professional accomplishments, honors, and awards.1) 2012 U.S. Fulbright Scholar (Core) to Kosovo; 2) 2015 Kennedy Center KCACTF National Award: "Distinguished Director of a Play"; 3) 2013 Association of Theatre in Higher Education's "Innovation in Teaching" Award; 4) 2015 NEH Summer Institute Scholar: American Muslims; 5) 2004 KCACTF National Faculty Fellowship: National Critics Institute

15. Awarded Degree(s)

Institution One

Select up to three languages (other than English) for which you have basic knowledge and are relevant to proposed grantactivity. Select your level of competency for each skill.

18.

C. Other Specializations Educational Theatre, Dramatic Theory & Criticism, Dramaturgy

Language Reading Writing SpeakingItalian Fair Fair FairSpanish Fair Poor PoorFrench Fair Poor None

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Previous Fulbright Grant(s). List the type, year and country of any previous Fulbright grants received starting with the mostrecent.

From(mm/yyyy)

To(mm/yyyy)

01 / 2012

/ / /

Residence or professional trips abroad three consecutive months or longer during the past five years.

/ / /

07 / 2012

19.

20.

Type of Grant Academic Year Country/ProgramFulbright Scholar 2011 Kosovo

Country Purpose/Sponsorship

Kosovo U.S. Fulbright Scholar (Core)

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No

Project Details

25. Have you received a letter of invitation? If yes, please attach copy on page 12

26. Do you expect to receive a letter of invitation?

27. Alternate country preferences, if any

Alternate award number(s), if any

I am willing to consider awards in other locations.

28. Does your proposed project include research involving human subjects?

29. Does your proposed project include the use of vertebrate animals?

Yes

Yes

Bulgaria

Macedonia

Albania

6161,6283,6110

No

No

Yes

21. Project TitleAmerican Theatre: Pedagogy and Practice

22. Provide an abstract or brief summary of proposed project.I am proposing a nine-month, teaching only grant to Romania to teach courses and workshops characteristic of American theatre pedagogy and practice. I have letters of invitation from two universities: UNATC in Bucharest has invited me to teach courses in production dramaturgy and pedagogy; Babes-Bolyai in Cluj has requested courses and workshops in musical theatre, stage management, and puppetry. Given the schedule of Romania's theatre (and film) festivals, I ask to be assigned to Bucharest during the fall semester and Cluj for the spring.

Date

23. Enter a proposed start date and total grant length. If the proposed project is submitted for consideration as a Flex grant, indicatethe number of years over which the project will span. Grant details must match the award description.

September 2016 9 monthsLength

24. Preferred Host Institution

UNATC (Bucharest); Babes-Bolyai (Cluj)Other

Submitting for Flex

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30. Home mailing address Street

State

Country

Personal Information

City

35. not shown

1616 Avenue N Apt. 4

Huntsville

Texas

United States

Province/State

Zip 773404457

Telephone Home Fax

Preferred E-mail [email protected]

31. State of Legal Residence Texas

37. not shown

32. not shown

33. Marital Status SINGLE

34. Family members/dependents

Name (L/F/M) Will accompany Relationship Birth Date Current School Grade //

//

//

//

//

36. not shown

Certification48. Accuracy of information contained in this application and wavier consent (required of all applicants):

BY MY SIGNATURE BELOW, I CERTIFY THAT, TO THE BEST OF MY KNOWLEDGE, THE INFORMATION PROVIDED IN ALLPARTS OF MY APPLICATION IS ACCURATE AND COMPLETE, AND I WAIVE/DO NOT WAIVE, AS INDICATED, MY ACCESS TOTHE INFORMATION SUPPLIED BY MY REFEREES LISTED HEREIN.

SignatureDavid A McTier

DateAugust / 01 / 2015

Cell Phone 2817570958

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Referee One

Address

State

Country

References

City

Box 2297 Huntsville

TexasUnited States

Province/State

Zip 773412297Telephone 9362941330 E-mail [email protected]

Prefix Hasekoester Penny NamePosition Chair

Institution Sam Houston State University

Department Theatre and Musical Theatre

Ms.Family Name/ First Name/ Middle Name

Referee Two

Address

State

Country

City

4034 Colquitt

Houston

TexasUnited States

Province/State

Zip 770276309Telephone 2066835369 [email protected]

Prefix Swackhamer Leslie Name

Position Executive Director

Institution Susan Smith Blackburn Prize

Department

Ms.Family Name/ First Name/ Middle Name

Referee Three

Address

State

Country

City

2700 F Street NW

Washington

District Of ColumbiaUnited States

Province/State

Zip 205660003

Telephone 2024168864 [email protected]

Prefix Henry Gregg Name

Position Artistic Director

Institution Kennedy Center American College Theater Festival

Department

Mr.Family Name/ First Name/ Middle Name

E-mail

E-mail

External Evaluator Completing Language Proficiency Report. You may not use the language evaluator section to add a fourth referee.

Address

State

Country

City

United StatesProvince/State

ZipTelephone

Prefix Name

Position

Institution

Department

Family Name/ First Name/ Middle Name

E-mail

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Fulbright Language Proficiency Report: SELF-EVALUATION

No.

TO THE APPLICANT: Per the award description requirements in the Catalog of Awards, please select the applicable option:

Name of applicant:Host Country: Language:

McTier, David Allan

Romania Romanian

I. Have you ever taken a language proficiency test in the language of the host country? If so, what rating did you receive and when was the test given? (Please describe the nature of test and who administered it. If it was an oral interview test, please indicate how many examiners were present.)

II. Previous experience in use of language Please indicate where your knowledge of the language was gained and under what circumstances you have used it; it will be helpful to have your report cover the following points: a. What languages did you present to satisfy formal requirement for the Ph.D.? b. How many years of formal course work have you taken in the language of stated competence? c. What equivalents to formal courses do you offer as a basis for your language qualifications? d. What residence have you had in the areas or countries where the language is used? e. What recent opportunities have you had for reading and speaking the language, including lecturing?

III. Additional language study in progress or planned

Language proficiency is required for award and/or proposed grant activity.

Language proficiency is not required for award and/or proposed grant activity.

Language proficiency is not required for award and/or proposed grant activity; however, I am completing the self-evaluation.

I am a native speaker.

X

David McTier, Ph.D. Romania: All Disciplines: Award #6307 Proposal (Page 1)

Proposal I am applying for a nine-month, teaching-only grant to Romania for the All Disciplines Award (#6307) in theatre, which is designated as a preferred discipline. Mihai Moroiu, American Program Director for the Romanian-U.S. Fulbright Commission, has recommended that I propose splitting the academic year, with one semester in Bucharest and another in Cluj, and I am happy to do so.

I have received a letter of invitation from the National University of Theatre and Cinematographic Arts in Bucharest to teach in the Faculty of Theatre. UNATC’s Vice Rector, Dr. Nicolae Mandea, has requested courses in production dramaturgy and pedagogy/teaching methods.

I also have received a letter of invitation from Babeș-Bolyai in Cluj to teach in the Faculty of Theatre and Television. Associate Dean Anca Maniutiu has requested courses and/or workshops in stage management, musical theatre, and puppetry.

Given that the National Theatre Festival in Bucharest occurs during the fall, I ask to be assigned to UNATC for the first (fall) semester and then at Babeș-Bolyai for the second (spring) semester. After the second semester ends, I would like to attend the entirety of the Sibiu International Theatre Festival (“Sibfest”) in mid-June.

Value to UNATC While most European theatres and universities are familiar with dramaturgy as a tool for creating new scripts (dramaturgy as playwriting), they rarely employ our American notion and practice of “production dramaturgy” as a tool to connect knowledge and research with the production of existing scripts, be they new or old. The study and practice of production dramaturgy is our “bridge” between knowledge and creativity; it is tangible proof that the knowledge-based theatre courses we teach, such as theatre history, dramatic theory, text analysis, and criticism, are both applicable and indispensable to our creative work as theatre practitioners. My academic training and professional experience in production dramaturgy, therefore, would be something different but relevant and applicable to the Faculty of Theatre’s vast, practice-oriented curriculum.

The second requested course is pedagogy/teaching methods. Romania’s national curriculum for high schools requires study of the arts and currently includes music and art but not theatre. UNATC is lobbying to add theatre into the curriculum in schools across Romania and welcomes input from outside models that have proven successful. Texas provides an excellent model with hundreds of full-time theatre teachers in both middle schools and high schools. I began my own theatre career in youth theatre and later taught high school; I still hold teacher certification in Texas for grades 6-12. At my home university in Texas, I teach and advise all of our theatre students pursuing teacher certification. Again, my training and experience will be relevant and of immediate value to UNATC’s plans for introducing theatre education into Romania’s national curriculum.

Value to Babeș-Bolyai

Babeș-Bolyai has requested courses and/or workshops in stage management, musical theatre, and puppetry. The first two are fundamental to theatre study and professional practice in the U.S. but not so in much of Europe. Stage management and its myriad duties usually are subsumed by the director or his/her assistant. While Romanian theatres may not employ stage managers, they would benefit from the knowledge and skills required of stage managers. Aspiring directors and theatre teachers also would profit by knowing and being able to apply these managerial skills.


Musical theatre as a separate genre of academic study and professional practice is a distinctly American/British form of entertainment that falls outside the purview and responsibility of many European theatre curricula. My department at SHSU offers BFA degree programs in musical theatre as well as theatre. I have directed musicals and have a strong background in instrumental (keyboard and woodwinds) and vocal musical. I would love to share this performance genre with Babeș-Bolyai.

Puppetry in Europe often is associated with children’s theatre and considered essential to many actor-training programs. Consequently, some Romanian theatre programs include puppetry in their curricula, and a few, including UNATC, offer degree programs in puppetry. I could share my puppetry experience, both two dimensional (shadow puppetry) and three dimensional (rod and Bunraku-style) as a course or workshop depending on the material resources available.

Value to Me and SHSU To teach production dramaturgy in Romania, I will capitalize on masterworks I know well, but I also will need to draw from existing Romanian dramatic literature, of which I know little, and become acquainted with new plays being written and produced in Romania. My hope is that I return to the U.S. with a collection of Romanian plays translated into English that my home university could study and, hopefully, produce as American premieres at part of our participation in the Kennedy Center American College Theater Festival (KCACTF).

Regarding pedagogy, although I have maintained my Texas teacher certification, I realize that much has changed over the years, particularly regarding content delivery and student assessment. This fall, I will be auditing our university’s requisite education course (“The Teaching Profession”) so that I become more knowledgeable about new directions and best practices in secondary education. Even if I do not get the Fulbright grant, this experience will be of great benefit to me as head of our department’s theatre education program. If I do get the grant, then I can share my expanded knowledge with Romania.

While I have taught puppetry workshops and directed puppet plays, I have been waiting to develop a course in puppetry. The course I develop for Babeș-Bolyai, therefore, could be transferred back to my home university. Admittedly, there is less return value, though, for the stage management and musical theatre courses, since my faculty line at SHSU ordinarily does not teach these.

SHSU already has a strong Romanian connection: one of our music professors, Dr. Livia Ilonka Rus-Edery, is from Transylvania, and she actively recruits Romanian students for our music program. In the past five years, she has brought us seven students; this fall, we will have two new musicians. I think that this warm welcome should be extended to promising theatre students, particularly if they are interested in becoming teachers. Fortunately, our Dean, Dr. Ron Shields, has expressed particular interest in and support for student and faculty exchange initiatives in Central Europe; at present, he is cultivating our connections in Budapest and Prague.

Why Romania? As demonstrated by the growing number, variety, and reputation of its many international festivals, Romanian theatre and film are experiencing a renaissance that might be likened to the U.S. in the 1960s. At last year’s famous Avignon Festival, Romania’s production of Solitaritate garnered critical attention and signaled the importance of Romania in Europe’s diverse theatre scene.

Most of my reasons for applying to Romania and the “All Disciplines” grant, however, are quite simple and practical:


1. Romania is one of very few countries specifying theatre as a preferred discipline. 2. Romania has several universities with well-established and reputable theatre schools both in and

outside Bucharest. I already have established direct contact with two of these universities and ascertained their specific needs and interests. I also have Skyped and emailed with Ioana Drecin, a UNATC professor and former Fulbrighter to the U.S., who has provided significant information about Romania and made me feel welcome.

3. For this grant, Romania prefers appointments of nine-months, rather than four, and I am most interested in grants for the full academic year. (I realized during my grant to Kosovo that one semester really isn’t enough time to understand the people, culture, language, etc.)

4. If I do not receive (funded) developmental leave from my home university, I still should be able to make it on the generous stipend and allowances provided by the grant.

Note: Bulgaria and Egypt are the only countries with grants for “Fine and Performing Arts.” I visited two universities in Cairo this past May to pitch proposal ideas; however, Egypt’s grants remain suspended. I didn’t pursue Bulgaria simply because there is only one grant for the award, and it is for only one semester. I will list Bulgaria as an alternate, along with Albania and Macedonia. Having lived in Kosovo and traveled throughout the Balkans, and now with a sister teaching in Durres, Albania, I would be happy to return to the Balkans.

The Value of a Theatre Generalist

In the U.S., most theatre professors holding a Ph.D. are either specialists or generalists. I am a generalist and very happy to be one, for I am interested in all aspects of theatre and have experiences in almost every area (lighting being the notable exception). As a theatre generalist, I can offer Romania a wide variety of workshops and guest lectures in addition to the requested university courses. To highlight a few of my recent experiences and awards as a theatre generalist:

• Directing: Kennedy Center National Award: Distinguished Director of a Play (2015) • Directing: Three KCACTF Regional Merit Awards in Directing (2014, 2013, 2005) • Directing: Three of my productions have been presented at regional KCACTF festivals (2014,

2004, 2002); two of these were “devised” (original, company-developed) productions. • Pedagogy: Association of Theatre in Higher Education’s “Innovation in Teaching Prize” (2013) • Puppetry: National Puppetry Conference, O’Neill Theatre Center (2010) • Theatre Studies: Faculty Fellow, National Critics Institute, O’Neill Theatre Center (2004) • Scenography/Design: KCACTF Regional Merit Awards for Set Design (2003) and Sound

Design (2001)

International Context In 2012, I was a U.S. Fulbright Scholar to Kosovo, where I taught aesthetics at the University of Prishtina and directed the graduating senior actors in their diploma production at the National Theatre. In addition to teaching and directing, I offered fourteen workshops throughout my six-month grant period and served as a juror at a small international theatre festival in Podujeva, which included a production from Romania (which won the Grand Prize!). To chronicle my Fulbright experience, I created an online blog (davidmctierinkosovo.com), which has had visitors now from over 100 countries.

Following my Fulbright grant to Kosovo, I served as returning alum consultant during the 2013 Pre-Departure Orientation, and then I served for three years on the Regional Review Committee for the


Balkans. Last fall, I was a poster presenter at the Annual Fulbright Association Conference. I also have served for the past two years as Campus Representative at my home university, Sam Houston State University.

In the past ten years, I have visited 25 countries. I love traveling and am thrilled to experience different peoples with different ways of living, thinking, and creating art. In the past five years, my learning curve has increased significantly and intentionally as I have expanded into former Communist countries as well as Islamic countries. At this age and stage in life, I welcome challenges that make me think and adapt and, inevitably, make me realize how truly fortunate I am.

Adapting as an International Teacher My experience living and teaching in Kosovo taught me many important lessons, many of which will affect what and how I teach in Romania.

First and foremost, I cannot assume that my students will possess the English-language skills that permit extensive reading and writing in English. Consequently, my requirements, expectations, and assessment strategies will be adjusted to what I sense to be challenging but also doable and practical. I will rely on visual and kinetic/tactile learning to increase interest and to offset language hurdles.

A second important factor is assessment and the question of whether or not I “officially” will be grading the students. If I will, then the grading rubric must be established very clearly and early. In Kosovo, my grading was project-based and outcomes centered; consistent participation and timely completion counted most, while little rested on my qualitative assessment of student writing.

Third, and a bit more challenging, is how I must adapt my personal style of teaching and interpersonal communication without sacrificing my integrity or sense of self. In Kosovo, my characteristic subtlety, gentleness, and collaborative spirit often were perceived as weaknesses. Thankfully, my translator helped me discover and employ more effective methods: I became “tougher” but still friendly and more vocally and physically assertive but still polite and tactful.

Finally, every plan must have a backup plan. Who knows what will work and when and how? In Kosovo, I taught in a building without heat or air conditioning; I rarely had internet and often spent long periods of class time without electricity. Rarely did Plan A ever work (or work completely), but I learned to always have a backup.

Why a Second Fulbright? My first Fulbright was like a first date: it was very exciting, and I think both parties had a good time (I certainly did!) … but I can do better. Now that I have a sense of how (some) embassies and international universities operate, of how I can employ other strategies to circumnavigate language hurdles, of how I can capitalize on off-campus as well as on-campus opportunities … yes, I can do better, and I can offer more. The key is to use the upcoming, pre-grant year communicating with my contacts frequently to figure out how I best can offer Romania what it needs and wants.

Previous U.S. Fulbright Grants in Drama/Theatre to Romania I add this as an FYI for anyone who might be wondering. The Fulbright databases indicate that we have had a one-semester “Core” Scholar at Babeș-Bolyai. At UNATC, we have had a Student Scholar and several Specialists but not a “Core” Scholar. My findings for all theatre Fulbrighters to Romania include (in reverse chronological order):


• Student Scholar: Hannah Wolf, UNATC, Bucharest, 2013-2014 (two semesters) • Core Scholar: Jane Westlake, University of Bucharest, 2012 (one semester) • Core Scholar: Laura Wayth, Babeș-Bolyai, Cluj, 2011 (one semester) • Specialist: Eric Trules, UNATC, Bucharest, 2010 • Specialist: Shelley Wyant, UNATC, Bucharest, 2010 • Specialist: Roberta Levitow, UNATC, Bucharest, 2005

A Note about Syllabi For dramaturgy, I am including my summer syllabus from SHSU. Unlike my regular semester classes, my summer dramaturgy class is more compressed, topical, project-based, and practical, all of which should lend well to a comparable class in Romania.

I am including the simple syllabus for the one-semester Dramatic Theory and Criticism class that I taught at the University of Prishtina in Kosovo. This class substituted for the fourth-year playwrights’ required Aesthetics class and met once each week for 15 weeks; each class was three hours long. Because the majority of the students could not converse, much less write, in English, I had to have an interpreter. Even more valuable for your purposes is the blog that I created (davidmctierfaup.wordpress.com) which details every hour of every class and includes most of our reading and audio/visual materials. This blog still is available online.

Most of my recent syllabi as well as my philosophy of teaching and supporting materials are posted on my personal website (davidmctier.com). You also are welcome to visit my Fulbright blog (davidmctierinkosovo.com), which contains several posts about my experiences teaching and directing in Kosovo. The “Aesthetics Class” post provides a comprehensive summary of my class.

References Penelope Hasekoester, my department chair for the past nine years at SHSU, is writing a letter focusing on my teaching. I have invited her to comment on anything else she feels is relevant.

Gregg Henry, Artistic Director of the Kennedy Center American College Theater Festival, will address my work as a teacher and director within a regional and national context.

Leslie Swackhamer, Executive Director of the Susan Blackburn Prize, will focus on my work as a director and dramaturg from the viewpoint of a professional director and former colleague.

Supporting Materials I have included a .zip file with video excerpts from three productions: Machinal (for which I received a national KCACTF directing award), Dying for It (which demonstrates my puppet making and directing skills), and Kosovo (not the title of the play, but still the production I directed at the National Theatre of Kosovo).

Closing Comments My six-month Fulbright grant to Kosovo was one of the hardest experiences of my life; it was also one of the greatest experiences of my life. I wouldn’t trade it for the world. Now, I’d love a second opportunity. I realize that first priority goes to newcomers, but, if there’s room for me, let’s have a go! I’m ready for my second date!

David McTier, Ph.D. VITA Professor of Theatre, Sam Houston State University Page 1

Education

Ph.D., Theatre History and Criticism, 1995 University of Texas, Austin 4.0 for 60+ semester hours

M.A., Theatre, 1984 Indiana University, Bloomington 3.7 for 30 semester hours

A.B., Drama, 1981 University of Georgia, Athens 3.58 for 200+ quarter hours, cum laude Honors in Drama (Honors Program)

Tenure-Track Appointments

Professor of Theatre Department of Theatre and Musical Theatre Sam Houston State University, Huntsville, Texas August 2012-present

Associate Professor of Theatre Department of Theatre and Dance Sam Houston State University, Huntsville, Texas August 2006-2012

Assistant Professor and Director of Theatre Department of Communication and Fine Arts Rockhurst University, Kansas City, Missouri August 1998-May 2005

Theatre Faculty Division of Fine Arts Young Harris College, Young Harris, Georgia August 1984-June 1987

Term Appointments

Visiting Assistant Professor of Theatre Department of Theatre and Dance Agnes Scott College, Decatur, Georgia August 1997-May 1998 (1-year appointment)

Visiting Assistant Professor of Theatre Department of Theatre University of Vermont, Burlington, Vermont August 1996-May 1997 (1-year appointment)

Director of Theatre Department of Visual and Performing Arts University of Virginia's College at Wise, Virginia (formerly Clinch Valley College) August 1992-December 1994 (3-year appointment)

Visiting Instructor of Theatre Department of Theatre University of Kentucky, Lexington, Kentucky August 1991-May 1992 (1-year appointment)

Other Teaching

Faculty and Co-Director of Theatre The Woodlands College Park High School Conroe ISD, The Woodlands, Texas August 2005-June 2006

Instructor (Theatre & Interdisciplinary) Missouri Fine Arts Academy Missouri State University, Springfield, Missouri Summers, 2004-2009

Instructor (Theatre & Interdisciplinary) Governor’s School for the Visual & Performing Arts University of Richmond, Virginia Summers, 1993-1995, 1997-1999 Governor’s School for the Humanities Summer, 2003

Instructor (Communications & Interdisciplinary) Governor’s Honors Program Valdosta State University, Valdosta, Georgia Summers, 1984, 1990-1991, 2002

Associate Instructor of Theatre Department of Theatre and Dance University of Texas, Austin, Texas August 1989-May 1991, January-May 1995

Adjunct Instructor of Theatre Virginia Intermont College, Bristol, Virginia August 1993-December 1994

Administration

Assistant Director for Residential Life Governor’s Honors Program Valdosta State University, Valdosta, Georgia Summers, 1985-1986

Theatre Arts Supervisor and Director of Athens Creative Theatre Athens Recreation and Parks Department Athens, Georgia August 1981-April 1983


Directing

Sam Houston State University, 2006-present Machinal by Treadwell The Trojan Women by Euripides Dying for It by Buffini Comedy of Errors by Shakespeare Into the Woods by Sondheim and Lapine Big Love by Mee Waiting for Godot by Beckett Macbett by Ionesco Scenes from an Execution by Barker Bug by Letts Woyzeck by Buchner

National Theatre of Kosovo, 2012 Njerëz Me Shresa Të Thyera by Grabovci (“Men with Broken Hopes”)

Woodlands College Park High School, 2005-2006 Wings by Kopit A Midsummer Night’s Dream by Shakespeare

Rockhurst University, 1998-2005 A Lie of the Mind by Shepard Dead Man Walking by Robbins Reckless by Lucas LOST (company-developed) Time Flies by Ives Valparaiso by DeLillo A Streetcar Named Desire by Williams I of the Beholder (company-developed) A Midsummer Night's Dream by Shakespeare Scenes from an Execution by Barker A Funny Thing Happened on the Way to the Forum by Shevelove, Gelbart & Sondheim The Day Room by DeLillo Sainte-Carmen of the Main by Tremblay Hamlet by Shakespeare

Agnes Scott College, 1998 Mama Drama by Ayvazian, Daley, Farrell, et al.

University of Virginia's College at Wise, 1992-1994 Love Letters by Gurney Self-Torture and Strenuous Exercises by Kondoleon Jack … To Tell a Tale or Two (company-developed) Flesh And Blood by Thomas America Hurrah! by van Itallie Servant of Two Masters by Goldoni, adapted by Cone Landscape of the Body by Guare Tartuffe by Moliere

Actors’ Guild of Lexington, Kentucky, 1992 The Rehearsal by Noble (premiere)

University of Kentucky, 1991-1992 The Foreigner by Shue Ubu Raw! (company-adapted from Jarry’s Ubu Roi)

At-Random Theatre, Univ. of Texas, 1989-1991 M (company-adapted from Moliere’s The Miser) The Day Room by DeLillo Some Things You Need To Know … by Larson & Lee

Galveston Island Outdoor Musicals, 1989 Stage Directions by Horowitz

Young Harris College, 1984-1987 One for the Road by Pinter You Can’t Take It With You by Hart and Kaufman ‘dentity Crisis by Durang Buried Child by Shepard Crimes of the Heart by Henley Baby with the Bathwater by Durang The Dining Room by Gurney The Crucible by Miller The Miser by Moliere Summer Brave by Inge A Life in the Theatre by Mamet Hansel and Grethel (adapted by McTier) A Company of Wayward Saints by Herman Dracula by Deane and Balderstone

Athens Creative Theatre, 1981-1983 The King and I by Rodgers and Hammerstein You Can’t Take It With You by Hart and Kaufman Our Town by Wilder The Fantasticks by Jones and Schmidt Three for You and Me (adapted by McTier) The Robber Bridegroom by Uhry and Waldman The Importance of Being Earnest by Wilde

Management

Assistant Stage Manager Galveston Islands Outdoor Musicals Galveston, Texas May-August, 1989

Box Office and House Management Staff Spoleto Festival, U.S.A. Charleston, South Carolina May-June, 1983 and 1988 (2 festivals)


Dramaturgy

Classical Theatre Company, Houston, 2014 production dramaturg for The Importance of Being Earnest

Ensemble Theatre, Houston, 2009 -2011 production dramaturg for LOTTO production dramaturg for The African-American Shakespeare Company’s Cinderella production dramaturg for Stick Fly

Sam Houston State University, 2006-present production dramaturg for Spring Awakening lobby display for Twelfth Night lobby display for The Best Little Whorehouse in Texas lobby display for The White Rose lobby display for 50th Anniversary

Kennedy Center American College Theater Festival, Region V, 2003-2005 Student Dramaturgy Coordinator ”What is a Dramaturg?,” Region V Webpage

Eugene O’Neill Theater Center, 2005 Reader, O’Neill Playwrights Conference

Agnes Scott College, 1997 dramaturgy for The Learned Ladies by Moliere

University of Vermont, 1997 research/dramaturgical support for Babes in Arms by Rodgers & Hart

Atlanta Gay Men’s Chorus, 1996 program notes for Memento Mori by Adler (premiere)

Produced Adaptations/Abridgements

Comedy of Errors Sam Houston State University, 2011

Richard III Johnson County Community College, 2011

Much Ado about Nothing Farragut High School, Knoxville, 2012 Johnson County Community College, 2003

A Midsummer Night’s Dream The Woodlands College Park High School, 2005 Rockhurst University, 2001

Hamlet Rockhurst University, 1998

Company-Developed Texts

Rockhurst University, 1998-2005 LOST (about the effects of war on women) I of the Beholder (about mental illness and creativity)

University of Virginia's College at Wise, 1992-1994 Jack … To Tell a Tale or Two (based on folk tales)

University of Kentucky, 1991-1992 Ubu Raw! (adapted from Jarry’s Ubu Roi)

At-Random Theatre, Univ. of Texas, 1989-1991 M (adapted from Moliere’s The Miser)

Concert Narratives

Follies produced by Heartland Men’s Chorus, 2001

With Wreath...By Fred produced by Atlanta Gay Men's Chorus, 1997 produced by Atlanta Gay Men's Chorus, 1995

Atlanta Flames: An Olympic Tribute produced by Atlanta Gay Men's Chorus, 1996

Papers

A Crisis In Criticism: A Defense Of Two “Postmodern” Productions Ph.D. Dissertation, University of Texas at Austin, Oscar Brockett, Supervisor. June 1995

Postmodern Reinventions Of Shakespeare American Culture/Popular Culture Conference Convention, Louisville, Kentucky. March 1992

Postmodern Currents In Recent Productions of Shakespeare’s Hamlet Southwest Theatre Conference, Dallas, Texas. November 1990

Lee Breuer: Trans-Cultural Theatre Theatre Insight, Volume I, Number 2, Spring, 1989

The Emergence Of London’s Illegitimate Theatres during the Early Eighteenth Century M.A. Thesis, Indiana University. Leigh Wood, Supervisor. December, 1984

Drama Certification And Georgia’s Solution: The Drama Specialist A.B. Honors Thesis, University of Georgia. Faye Head, Supervisor. May, 1981


Criticism/Adjudication

Juror, 2012 Festivali Teatri Ndryshe Podujeva, Kosova, July, 2012

Reader, 2012 Junior Faculty Development Program American Councils of International Education, Kosova

Reader, 2012 Paula Vogel Playwriting Award Represented KCACTF Region 6 on National Panel

Reader, 2011 National Undergrad Scholar Awards Represented KCACTF Region 6 on National Panel

Texas UIL One-Act Play Critic Judge Zone and District Judge, 2008-present

Texas UIL One-Act Play Clinician Sam Houston State University, 2006-present Conroe ISD, 2009 & 2011

Adjudicator/Selector, Texas Thespians Austin and Houston Area, 2009

Reader, National Playwrights Conference Eugene O’Neill Theater Center, 2005

National Critics Institute Faculty Fellowship Eugene O’Neill Theater Center, July, 2004

Irene Ryan Preliminary Respondent KCACTF Region VI Festivals, 2006

Irene Ryan Preliminary Judge KCACTF Region V Festivals, 1999-2004

KCACTF Respondent Region V, 1998-2005 Region IV, 1986, 1993-1994, 1997

Peer Reviewer, Baker University, Kansas Theatre Season, 1999-2000

Auditioner, Georgia Governor’s Honors Program Theatre Auditions: 1981-1983, 1985-1987, 1998

Juror, 1998 Atlanta Gay and Lesbian Arts Festival Performing Arts Division

Consultant, The Kentucky Chautauqua Lexington, Kentucky, 1992

Adjudicator, Georgia Theatre Conference Community Theatre Festival, 1985

Judge, Georgia High School Association One-Act Play Festival Regions 4 (1981), 8 (1984), and 9 (1986)

Conference Presentations

Tabletop Puppetry 2014 Region 6 KCACTF Festival, Shreveport

Fulbright Scholar Program 2013 Region 6 KCACTF Festival, Shreveport

Puppet Making 2013 USITT Southwest Symposium, Huntsville

Differentiated Instruction 2012 KETNET (Kosovar Teachers of English Network), Ministry of Education, Prishtina, Kosova

Production Dramaturgy: A Director and Designer-Friendly Approach 2009 Region VI KCACTF Festival, San Marcos

The Dramaturg’s Toolbox 2008 Region VI KCACTF Festival, Huntsville

Got IT? Use IT! Instructional Technology for Better Classes and Rehearsals 2008 Region VI KCACTF Festival, Huntsville

“Differentiating” History 2007 Region VI KCACTF Festival, Tulsa

New Directions: Creating Multi-Media Performance 2007 Southwest USITT Symposium, Houston

Another Way To Work: Developing New Plays In Mid-America (Panelist) 2005 Mid-America Theatre Conference, Kansas City

Dramaturgy and the Development of New Work 2005 Region V KCACTF Festival, St. Louis

If I Can’t Spell It or Pronounce It, How Should I Know What It Is? A Forum on Dramaturgy 2004 Region V KCACTF Festival, Denver

Digital Video Editing: Introduction to Adobe Premiere & After Effects 2003 Region V KCACTF Festival, Cedar Falls

Writing the Collaborative Play (Panelist) 2002 Region V KCACTF Festival, Lincoln

Using PowerPoint and Online Resources to Enhance Instruction and Rehearsals 2001 Region V KCACTF Festival, Overland Park

Issues in Teaching 2001 Region V KCACTF Festival, Overland Park

Old Dogs, New Tricks: A Forum on Teaching 2000 Region V KCACTF Festival, Sioux Falls


Student Workshops Presented

Alexander Technique 2012 Faculty of Arts, University of Prishtina, Kosova 2011-2012 Texas Thespians Festival, Houston 2009-2010 Texas Thespians Festival, Corpus Christi 2009-2013 Super UIL Conference, Huntsville 2007 Theatrefest, Texas Educational Theatre Association, Houston 2007 Missouri Fine Arts Academy 2006 The Woodlands High School (Texas) 2000 Region V KCACTF Festival, Sioux Falls 1999-2000 Texas Thespians Festival, Corpus Christi 1999 Missouri Thespians Festival, Fulton 1997-1998 Texas Thespians Festival, Abilene 1991 Texas UIL Conference, Austin 1987 Florida Thespian Festival, Miami

Professional Theatre in the USA 2012 Faculty of Arts, University of Prishtina, Kosova

Professional Acting in the USA 2012 Faculty of Arts, University of Prishtina, Kosova

American Musical Theatre 2012 Faculty of Arts, University of Prishtina, Kosova

Shurtleff’s Guideposts 2012 Festivali Teatri Ndryshe, Podujeva, Kosova

Cue Queue 2012 Texas Thespians Festival, Houston

Soundscaping 2011-2012 Texas Thespians Festival, Houston

Table-to-Tube Puppetry 2010 Texas Thespians Festival, Corpus Christi

Basic Dramaturgy 2009 Texas Thespians Festival, Corpus Christi

Choosing the Right College 2009 Texas Thespians Festival, Corpus Christi 1999 Missouri Thespians Festival, Fulton 1999-2000 Texas Thespians Festival, Corpus Christi

Directing Classical Texts 1998 Texas Thespians Festival, Abilene

Shakespeare 2009-2010 Texas Thespians Festival, Corpus Christi

Audition Techniques 1986 Georgia Theatre Conference Convention, Athens

Related Activities

US Fulbright Peer Review Committee (Balkans) Council for International Exchange of Scholars Three-year appointment, 2012-2014

Consultant, 2013 Pre-Departure Orientation Fulbright Scholars & Students: Europe & Eurasia

Participant, 2010 National Puppetry Conference O’Neill Theatre Center, Waterford, Connecticut

Webmaster KCACTF Region VI, 2008-2011 (www.kcactf6.org)

Coordinator, Overnight Play Festival KCACTF Region VI Festival, 2008

Faculty Sponsor, Alpha Psi Omega Sam Houston State University, 2007-present

Regional Advisory Committee KCACTF Region V, 2003-2005

Student Dramaturgy Coordinator KCACTF Region V, 2003-2005

Participating Director, 24-Hour Play Festival 2005 Region V KCACTF Festival, St. Louis

Region Coordinator, Virginia High School League Region D One-Act Play Festival, 1992-1994

Editorial Staff, Theatre Insight University of Texas, 1989-1991

State Auditions Coordinator (Georgia) Southeastern Theatre Conference, 1985, 1986

Publicity Coordinator University Theatre (Mainstage Season) Indiana University, Bloomington, Indiana Graduate Assistantship, August, 1983-May, 1984

University Service

Sam Houston State University Faculty Senate, 2013-2016 Faculty Affairs Sub-Committee, 2013-2016 Fulbright Campus Representative, 2013- Core Curriculum Assessment Committee, 2008-2011 Faculty Advisor, Alpha Psi Omega, 2007-present

Rockhurst University Undergraduate Curriculum Committee, 1999-2002 Faculty Advisor, Rockhurst Players, 1998-2005


Honors & Awards

2015 Kennedy Center National Award (KCACTF) Distinguished Director of a Play (Machinal)

2015 NEH Summer Institute Fellowship American Muslims: History, Culture and Politics

2013 ATHE Innovation in Teaching Prize Association of Theatre in Higher Education KCACTF Region 6 Recipient

2012 U.S. Fulbright Scholar Faculty of Drama, University of Prishtina, Kosovo

Who’s Who in America, 2008

KCACTF Meritorious Achievement Awards Directing, Machinal, Region 6, 2014 Directing, The Trojan Women, Region 6, 2013 Directing, A Lie of the Mind, Region V, 2005 Set Design, LOST, Region V, 2003 Collaborative Development of New Work, LOST, Region V, 2003 Sound Design, A Midsummer Night’s Dream Region V, 2001

KCACTF Regional Production Citations Machinal, “Invited Production” 2014 Region 6 Festival, San Angelo, Texas Scenes from an Execution, “Respondent’s Choice,” 2008 Texas State Festival, Webster LOST, “Invited Production” 2004 Region 5 Festival, Denver I of the Beholder, “Showcase Production” 2002 Region 5 Festival, Lincoln Scenes from an Execution, “Invited Scenes” 2001 Region V Festival, Kansas City

KCACTF National Faculty Fellowship, 2004 National Critics Institute

Who’s Who Among America’s Teachers 2004, 2005, 2006

Morton Brown Enticement Scholarship, 1988 Department of Theatre, University of Texas

Outstanding Young Men of America, 1984

Who’s Who In American Colleges & Universities University of Georgia, 1981

Phi Kappa Phi Honor Society, 1981 University of Georgia

Byron Warner Music Scholarship, 1981 University of Georgia

Courses Taught

(courses taught since completion of Ph.D. in 1995)

University of Prishtina, 2012 Aesthetics

Sam Houston State University, 2006-present Theatre History I Theatre History II Dramatic Theory and Criticism Dramaturgy Text Analysis Teaching and Directing High School Theatre Experimental Theatre Production Stage Management Theatre Appreciation Theatre Appreciation (Online)

Rockhurst University, 1998-2005 History of Pre-Modern Theatre History of Modern Theatre Looking Critically at Film and Stage Script Analysis Acting I Acting II Directing Introduction to Theatre Arts

Agnes Scott College, 1997-1998 Acting I Directing I Directing II Postmodern Film and Theatre The Female Identity and the Making of Theatre

University of Vermont, 1996-1997 Dramatic Analysis Renaissance, Baroque and Neoclassical Theatre 19th and 20th Century Theatre Introduction to Theatre

Websites & Blogs

Personal Website http://davidmctier.com

Tenure & Promotion Website http://davidmctierphd.wordpress.com

Fulbright Blog http://davidmctierinkosovo.com

University of Prishtina Blog http://davidmctierfaup.wordpress.com

THEA%3364:%Dramaturgy% David%McTier,%Ph.D.%Summer&I&2015& Office:&PAC&2846F&

CRN&40994& (936)&29464063&

Contact%Info%&%Appointments&

I&will&be&in&the&classroom&at&least&15&minutes&before&each&class&and&can&meet&with&you&then&or&immediately&after&

class&ends.&If&you&would&like&a&longer&meeting&in&my&office,&please&let&me&know,&and&we’ll&schedule&an&appointment.&

You&may&leave&a&message&at&(936)&29464063&or&e6mail&me&at&[email protected].&Please&do&not&e6mail&me&through&

Blackboard.&

Course%Description&

THEA&3364&is&a&writing6enhanced,&hands6on&workshop&on&production&dramaturgy,&which&is&an&exploration&and&

application&of&the&processes,&research,&and&resources&needed&to&make&informed)production&choices.&

The&first&hour&(10:00610:50&am)&of&each&class&will&be&a&lecture/discussion&located&in&PAC&240;&the&second&hour&

(11:00611:50&am)&will&be&active&research&and&application&in&the&PAC&Computer&Lab.&On&most&Fridays,&we&will&spend&

our&first&hour&in&the&Main&Library.&

Credit&for&this&course&may&substitute&for&any&one&of&the&three&required&writing6enhanced&courses&I&teach&during&the&

regular&year:&Theatre'History'I'(THEA&3360),&Theatre'History'II'(THEA&4360),&and&Theory'and'Criticism'(THEA&4363).&

Course%Requirements&

You&must&attend&at&least&85%&of&all&classes&(17&of&20&class&days&=&34&of&40&class&hours).&&

You&will&select&and&read&a&playscript&of&your&own&choosing&and&then&use&that&script&throughout&the&course.&The&

script&needs&to&have&a&specific&time&and&geographic&location&in&the&past;&please&do&not&select&anything&set&in&the&

future&or&that&is&too&abstract.&Also,&if&your&script&is&very&new&or&short,&it&may&not&provide&enough&material&and&

history&for&your&assigned&projects.&

You&will&create&and&publish&an&online&blog&comprised&of&the&posts&(assignments)&listed&on&the&attached&itinerary.&

You&may&use&either&blogger.com&or&wordpress.com;&you&may&not&add&to&a&pre6existing&blog&or&use&Tumblr.&Both&

approved&blog&platforms&are&free,&user6friendly,&and&do&not&require&you&to&divulge&personal&information,&credit&

card&number&or&phone&number.&You&may&need&to&set&up&a&Gmail&account.&

You&will&write&four&essays&and&submit&them&via&Turn6It6In&on&Blackboard.&These&essays&must&be&written&in&your&own&

words&without&paraphrasing&or&quoting.&The&first&essay&should&be&appr.&300&words&in&length;&the&following&three&

essays&must&be&at&least&500&words.&You&will&be&graded&on&content&and&form/mechanics&(which&includes&length).&

In&lieu&of&a&final&exam,&you&will&submit&a&Dramaturgy&Notebook&that&presents&all&of&your&posts,&essays,&and&

supplemental&materials&in&a&reader6friendly,&professional&looking&hard6copy&format.&&You&will&be&graded&on&content&

and&form/presentation.&If&you&prefer&to&create&a&digital&notebook,&talk&with&Dave&about&format.&

For&each&class,&please&bring&your&script,&and&paper/notebook&and&pen/pencil.&You&also&should&bring&a&flash&drive&to&

store&files&or&have&access&to&your&S&drive&or&online&cloud&storage.&(You&should&not&ever&store&to&the&Desktop.)&

A&summary&of&each&class&can&be&found&on&our&class&blog:&https://shsudramaturgy2015mctier.wordpress.com.&

Graded%Components&

Please&refer&to&the&attachment&that&covers&itinerary&and&assignments.&

30%%Posts:&15&total&posts&published&on&your&online&blog;&each&is&worth&2%&

50%%Essays:&4&original&essays&submitted&through&Turn6It6In&on&Blackboard;&the&first&essay&counts&5%;&the&other&

three&essays&count&15%&each&

20%%Dramaturgy%Notebook:&submitted&in&hard&copy&in&lieu&of&a&final&exam&(digital&format&only&with&Dave’s&

approval)% &

Late%Work&

Posts&are&to&be&completed&no&later&than&5:00&p.m.&on&the&assigned&day.&You&should&be&able&to&finish&most&posts&

during&our&lab&time.&All&essays&are&due&via&TurnItIn&by&the&end&of&each&Sunday&at&11:59&p.m.&If&you&miss&a&given&

Sunday’s&deadline,&you&be&penalized&one&letter&grade.&Given&my&deadline&for&filing&grades&for&the&course,&I&cannot&

accept&any&materials&submitted&after&5:00&p.m.&on&Tuesday,&June&30.&

Attendance&

You&must&attend&a&minimum&of&34&class&hours&(17&of&20&two6hour&classes).&For&anything&less&than&34&hours,&you&will&

be&penalized&63&points&(from&your&final&course&grade)&for&each%class&hour%missed.&No%distinction%is%made%between%“excused”%and%“unexcused”%absences.%(Note&well:&this&is&different&from&all&my&courses&during&the&regular&year.)&

There&will&be&one&make6up&day&(2&hours)&on&Tuesday,&June&30,&during&the&final&exam&period&in&the&PAC&computer&

lab.&Attendance&is&optional.&

For&each&class&hour%that&you&arrive&on&time&and&remain&until&the&end&of&the&period,&you&will&receive&+1/20&(one&

twentieth)&point&to&add&to&your&final&course&grade.&(Thus,&+2&total&points&are&available,&if&you&are&on&time&for&all&40&

class&hours.&Each&semester,&these&“tasty&treats”&bring&many&students&up&a&letter&grade!)&

We&do&not&have&a&final,&nor&do&we&meet&as&a&class&during&the&final&exam&period;&instead,&your&Dramaturgy&

Notebook&is&due&on&the&final&exam&day,&Tuesday,&June&30,&no&later&than&5:00&p.m.&

Technology%&%Conduct&

If&you&prefer&to&use&your&own&laptop&during&lab&time,&you&are&welcome&to&do&so.&Please&note&that&lab&time&is&not&

optional;&even&if&you&use&your&own&laptop,&you&must&be&present&during&lab&time,&so&that&I&may&be&available&to&you&

(and&you&to&me);&otherwise,&I&cannot&justify&spending&half&of&our&contact&hours&in&a&lab.&

We&will&take&a&106minute&break&each&day&at&10:50&am.&Please&restrict&your&text&messaging,&phone&calls,&

bathrooming,&eating,&e6mailing,&and&socializing&to&that&time.&Beverages&in&spill6proof&containers&are&permitted&in&

PAC&240;&beverages&in&any&form&are&not&permitted&in&the&PAC&Computer&Lab.&

Academic%Dishonesty&

All&students&are&expected&to&engage&in&all&academic&pursuits&in&a&manner&that&is&above&reproach.&Students&are&

expected&to&maintain&honesty&and&integrity&in&the&academic&experiences&both&in&and&out&of&the&classroom.&Any&

student&found&guilty&of&dishonesty&in&any&phase&of&academic&work&will&be&subject&to&disciplinary&action.&The&

University&and&its&official&representatives&may&initiate&disciplinary&proceedings&against&a&student&accused&of&any&

form&of&academic&dishonesty&including&but&not&limited&to,&cheating&on&an&examination&or&other&academic&work&

which&is&to&be&submitted,&plagiarism,&collusion&and&the&abuse&of&resource&materials.&

Classroom%Conduct&

Students&will&refrain&from&behavior&in&the&classroom&that&intentionally&or&unintentionally&disrupts&the&learning&

process&and,&thus,&impedes&the&mission&of&the&university.&Cellular&telephones&and&pagers&must&be&turned&off&before&

class&begins.&Students&are&prohibited&from&eating&in&class,&using&tobacco&products,&making&offensive&remarks,&

reading&newspapers,&sleeping,&talking&at&inappropriate&times,&wearing&inappropriate&clothing,&or&engaging&in&any&

other&form&of&distraction.&Inappropriate&behavior&in&the&classroom&shall&result&in&a&directive&to&leave&class.&Students&

who&are&especially&disruptive&also&may&be&reported&to&the&Dean&of&Students&for&disciplinary&action&in&accordance&

with&university&policy.&

Students%with%Disabilities&

SHSU&adheres&to&all&applicable&federal,&state,&and&local&laws,&regulations,&and&guidelines&with&respect&to&providing&

reasonable&accommodations&for&students&with&disabilities.&If&you&have&a&disability&that&may&affect&adversely&your&

work&in&this&class,&then&I&encourage&you&to&register&with&the&SHSU&Counseling&Center&and&to&talk&with&me&about&how&

I&can&best&help&you.&All&disclosures&of&disabilities&will&be&kept&strictly&confidential.&NOTE:&No&accommodation&can&be&

made&until&you&register&with&the&Counseling&Center.&

Dramaturgy: Itinerary & Assignments (Tentative) Class # 10:00 Content 11:00 Application Homework

Understanding the Course

June 2 TUE 1 Syllabus and Introductions What is Dramaturgy?

Create blog. Practice Post: About Me (0%)

Begin searching for a script. You must have it approved by Dave in order to use it.

3 WED 2 Approaching a Script as a Dramaturg: Lonesome West

How to find scripts online. Post #1: Defining Dramaturgy (2%)

Make a paper photocopy of your script that you can mark up. Read (or re-read) your script.

4 THU 3 Resolve script choices. Continue with Lonesome West.

Post #2: My Script (2%) In your script, mark every word, phrase, name or reference you don’t know or can’t pronounce.

5 FRI 4 Library: Introduction and Tour Begin Turn-It-In Essay #1 Essay #1: My Play: A Reader’s Perspective (5%**) Due by Sunday night at 11:59 p.m. on Turn-It-In

Understanding the Script of the Play

8 MON 5 Publications, Translations, and Adaptations

Post #3: The Physical Script (2%) Basic Facts

Finish and publish post no later than 5:00.

9 TUE 6 Genres and Play Analysis Post #4: Script Analysis (2%) Finish and publish post no later than 5:00.

10 WED 7 Exegesis Post #5: Exegesis (2%) Finish and publish post no later than 5:00.

11 THU 8 Literary Criticism & Commentary Post #6: Critical Response (2%) Finish and publish post no later than 5:00.

12 FRI 9 Library: Scavenger Hunt Begin Turn-It-In Essay #2 Finish Essay #2: Understanding the Script (15%**) Due by Sunday night at 11:59 p.m. on Turn-It-In

Understanding the World of the Play

15 MON 10 People and Places Post #7: Demographics (2%) Finish and publish post no later than 5:00.

16 TUE 11 Headlines Post #8: Headlines (2%) Finish and publish post no later than 5:00.

17 WED 12 Culture and Context Post #9: Culture & Context (2%) Finish and publish post no later than 5:00.

18 THU 13 Sounds and Images Post #10: Sounds and Images (2%) Finish and publish post no later than 5:00.

19 FRI 14 Library: Reference and Serials Begin Turn-It-In Essay #3 Finish Essay #3: The World of the Play (15%**) Due by Sunday night at 11:59 p.m. on Turn-It-In

Understanding the Production Life of the Play

22 MON 15 Production History Post #11: Production History (2%) Finish and publish post no later than 5:00.

23 TUE 16 Production Reviews Post #12: Production Reviews (2%) Finish and publish post no later than 5:00.

24 WED 17 Sounds and Images Post #13: Production Stills (2%) Finish and publish post no later than 5:00.

25 THU 18 Promotional Materials Post #14: Publicity & PR (2%) Finish and publish post no later than 5:00.

26 FRI 19 Dramaturgy Notebooks: Examples Begin Turn-It-In Essay #3 Finish Essay #4: Production History (15**%) Due by Sunday night at 11:59 p.m. on Turn-It-In

Helping Others Understand the Play

29 MON 20 Educational Materials Post #15: Resources (2%) Finish(ing) Dramaturgy Notebook.

30 TUE Optional: Makeup One Hour Optional: Makeup Another Hour Dramaturgy Notebook (20%) must be finished and posted/turned in by 5:00 p.m.

Notes: Each post is due no later than 5:00 on its given day. Posts may include copy-and-paste as long you identify and link your source(s). Each essay must be written in your own words (without quotes or paraphrasing). Each essay is due by the end of Sunday (11:59 p.m.) on its given week, and each must be submitted via Turn-It-In on Blackboard.

Dramatic Theory and Criticism (Aesthetics) University of Prishtina, Faculty of Arts David McTier, Ph.D., U.S. Fulbright Scholar

Course Description

This is a lecture-discussion course on dramatic theory and criticism. We will meet one day each week for a three-hour period. During the first hour, we will explore dramatic theory (why theatre is the way it is—its conventions of writing and production). During the second hour, we will focus on criticism (how we perceive, understand, and judge theatre) using the critical perspectives surveyed in Lois Tyson’s book, Critical Theory Today. The third hour will be reserved for topics in current practice (theatre production today).

Course Objectives

To understand how and why current conventions of writing and production exist.

To understand and apply any of the critical perspectives in analyzing and evaluating a given script or performance.

To understand and appreciate how subjective the perception and evaluation of theatre/art is and how these subjective differences, be they individual or cultural, past or present, enrich our art and allow it to evolve continuously.

To understand current theoretical and practical issues facing current theatre practice.

Graded Requirements

10 Weekly Responses = 50% of final course grade each weekly response is worth 5% of final course grade

Mid-Term Project = 25% of final course grade

End-of-Term Project = 25% of final course grade

Weekly Response Form

For ten (10) of our weekly classes, you are required to respond in writing using the following form. For each of the six (6) response areas, you should write approximately 100 words. You may write in English or Shqip.

Each weekly response must be submitted no later than five (5) days after the class. (Drama students meet on Thursdays; your responses are due the following Tuesday by 17:00.)

A response that is objective should be factual and descriptive. The goal here is to be accurate and comprehensive (as much as you can be in 100 words).

A subjective response is your personal assessment of the topic. I don’t care whether you like or agree with the topic; my interest is how the topic may be relevant to your work as an artist.

Please note that what you write will be read and discussed by me, the translator, and your classmates. Your marks (grades), however, will be private.

ITINERARY

Class Hour #1: Theory Hour #2: Criticism Hour #3: Practice

1 What is Theatre? What is Criticism? Syllabus, Itinerary, Questions

2 Classical Definitions: Aristotle New Criticism: “The Text Itself”

Professional Theatre in the U.S.

3 The Purpose of Theatre Archetypal and Genre Criticism

Acting as a Profession Unions: Actors Equity

4 Theories of Comedy Reader-Response Criticism Legal Issues: Copyright and Intellectual Property

5 Rules and Conventions: Historical and Present

Deconstructive Criticism Practical Tips for Playwrights Best Practices

6 Theories of Playwriting: Historical Overview

Psychoanalytic Criticism New Approaches to Writing

7 Conventions of Playwriting: Genres and Formulas

The Role of the Critic New Play Development

8 Translations and Adaptations

Identity Criticism: Gender and Orientation

Mid-Term Critique

9 Brecht and Epic Theatre

Marxist Criticism American Musical Theatre

10 Artaud and Theatre of Cruelty

Post-Colonial Criticism Theatre Education in the U.S.

11 Grotowski and Poor Theatre Boal and Theatre of Oppressed

African-American Criticism Publishing Opportunities

12 Radical 60s: Politics and Propoganda

New Historicism Discussion of Final Projects

13 Non-Western Theatre: Japan Cultural Criticism

Notable Female Playwrights

14 Postmodern Theory

Postmodern Criticism Female Playwrights (Cont.)

READING MATERIALS

Please note that you will be reading selections from the many of the following materials. All of these readings are posted as PDFs on our class blog. Click on each link to open.

Theory

Aristotle Poetics Horace Ars Poetica Tertullian De Spectaculis Opinions of the French Academy Moliere Preface to Tartuffe Dryden An Essay of Dramatick Poesie Collier A Short View Sidney Defense of Poetry and On Time and Place Goldsmith A Comparison between Sentimental and Laughing Comedy Lessing Hamburg Dramaturgy Stanislavski Direction and Acting Bergson Laughter Artaud Articles Esslin The Theatre of the Absurd Grotowski Towards A Poor Theatre

Grotowski Statement of Principles Peter Brook Holy Theatre Tragedy and the Common Man

Criticism

Overview New Criticism

New Criticism HANDOUT Structuralist Criticism Reader-Response Criticism

Reader Response Criticism HANDOUT Deconstructive Criticism Psychoanalytic Criticism

Psychoanalytic Criticism HANDOUT Marxist Criticism

Marxist Criticism HANDOUT Feminist Criticism

Feminist Criticism HANDOUT African American Criticism

African American Criticism HANDOUT Lesbian Gay & Queer Criticism New Historical & Cultural Criticism

New Historical and Cultural Criticism HANDOUT Postcolonial Criticism

Post-Colonial Criticism HANDOUT Postmodern Criticism

I should note that having a reading list, even one with downloadable pdf files on my class blog, proved ineffective: my students simply did not have the language skills to read or understand this material. Still, I would share the readings as best I could, mainly by pointing out key passages, which my translator then would paraphrase in Albanian.

Stage and Theatre Management COURSE SYLLABUS

THR 365.01 Fall 2009 3 Credit Hours David McTier

Location & Times UTC 135, 9:30-10:50 a.m., Tuesdays and Thursdays

Instructor David A. McTier, Ph.D., Associate Professor of Theatre

Office & Phone UTC 115, (936) 294-4063

e-mail [email protected]

Office Hours 1:00-1:45 MWF; 11:00-12:15 TuTh; other times available by appointment

Catalogue Description Advanced study of theatre management with an emphasis on the organizational, technical and management responsibilities of a stage manager as well as the public relations and marketing skills needed to run a house and box office. Included will be a focus on the establishment of a collaborative atmosphere within a production team or within a theatre company. Credit 3.

Course Description This course will be approached as a workshop comprised of activities and projects designed to introduce and hone the skills needed by a stage manager including preproduction, auditions, rehearsals, performance and post production. Classes will include discussion, topical workshops, and individual projects.

All of the individual projects will focus on the types of activities and materials you need to know and use to be a successful stage manager here at SHSU. We will work on many of these projects together during our sessions in the computer lab and then post our resulting projects on individual blogs.

Course Objectives Upon completion of this course, you should be able to:

x Understand and execute the responsibilities of the stage manager during pre-production, auditions, rehearsals, performance and post production.

x Learn to use software for generation of forms and other paperwork.

x Create and complete forms used by a stage manager.

x Understand and be able to employ the vocabulary required of an SM.

x Read and analyze a script from the stage manager’s point of view.

x Organize and manage a theatrical audition.

x Conduct and organize an effective theatrical rehearsal.

x Organize and effectively execute a technical rehearsal.

x Understand the preparation for and “calling” of a performance.

x Understand basic safety and medical issues and approved emergency protocols.

x Understand Equity regulations for certain theatrical organizations and production processes.

x Know how to build a promptbook (hard copy and/or digital) that contains cues as well as all necessary production records.

x Build a blog for the submission and sharing of your materials.

mailto:[email protected]

Required Text The Backstage Guide to Stage Management: Traditional and New Methods for Running a Show from First Rehearsal to Last Performance (Paperback) by Thomas Kelly, $18.95

Supplies & Expenses triangular architect’s scale ruler; a tablet of quadrille paper (1/8” squares); three-ring notebook(s) with dividers.

Your course fee provides you with one complimentary ticket to each of the department’s productions.

Graded Components Except for the SM Vocabulary, all projects will be posted on your blog.

10% Script Analysis 10% Forms (Audition, Company, Publicity) 10% Supplies, Tools, and Spaces 10% Safety and Medical Forms and Procedures 10% Schedules & Time Management 10% Rehearsal and Production Meeting Reports 10% Scale and Groundplan 10% Blocking and Cue Notation 10% SM Vocabulary (repeatable test on Blackboard) 10% Promptbook

Final Exam There is no final exam for this course; however, your final project—the promptbook—is due at our final exam period: Tuesday, December 15, at 8:00 AM. (Just have to me in the office no later than 12 noon that day.)

Final Course Grade A = 90-100 B = 80-89 C = 70-79 D = 60-69 F = 0-59

Attendance Policy You are expected to attend every class and be punctual and prepared. Given the experiential nature of the learning in this class, to miss (or be tardy) for any reason, legitimate or not, thus diminishes what you take from as well as what you contribute to the class. (Bottomline… a stage manager who doesn’t show up or is late?! Really?!)

University Policy: A student shall not be penalized for three or fewer hours of absences when examinations or other assigned class work has not been missed; however, at the discretion of the instructor, a student may be penalized for more than three hours of absences. Thus, you are allowed to miss two (2) TU/TH classes. For each additional absence, you will lose five (-5) points from your total number of points.

Two exceptions are made: one, religious holy days and required travel time (requests must be submitted within the first fifteen days of the semester); and, two, pre-approved and documented university obligation, e.g., athletics attending the Texas State KCACTF Festival. If you miss class due to pre-approved religious or university obligation, you should submit your assignment(s) prior to their anticipated absence to avoid penalty.

Excessive absences due to legitimate reason and/or extraordinary circumstances must be handled through the Dean of Students Office. If the Dean thinks you have a situation that I should accommodate, he will e-mail me (and your other teachers).

Please do not give me doctor’s notes and court papers or call me to say that you cannot be in class for a reason that you think is legitimate; just work with the Dean’s Office. (Then there’s no subjective judging or perceived favoritism on my behalf.)

On-Time Bonus For each class that you arrive on time, you will be rewarded 1/10th of a point to be added to your final course grade. (Don’t scoff: 30 of these “tasty treats” would raise your final course grade +3 points!)

Late & Makeup Work Projects submitted late will not be accepted without penalty unless there is an extraordinary situation approved by me, the instructor, or requested by the Dean’s

Office. Any project submitted after the due date and time (without approval) will be penalized one letter grade for each week late.

Academic Dishonesty University Policy: All students are expected to engage in all academic pursuits in a manner that is above reproach. Students are expected to maintain complete honesty and integrity in the academic experiences both in and out of the classroom. Any student found guilty of dishonesty in any phase of academic work will be subject to disciplinary action. The University and its official representatives may initiate disciplinary proceedings against a student accused of any form of academic dishonesty including, but not limited to, cheating on an examination or other academic work which is to be submitted, plagiarism, collusion and the abuse of resource materials.

Classroom Conduct University Policy: Students will refrain from behavior in the classroom that intentionally or unintentionally disrupts the learning process and, thus, impedes the mission of the university. Cellular telephones and pagers must be turned off before class begins. Students are prohibited from eating in class, using tobacco products, making offensive remarks, reading newspapers, sleeping, talking at inappropriate times, wearing inappropriate clothing, or engaging in any other form of distraction. Inappropriate behavior in the classroom shall result in a directive to leave class. Students who are especially disruptive also may be reported to the Dean of Students for disciplinary action in accordance with university policy.

You may not bring food or candy into the classroom. Beverages are acceptable as long as you clean up any spills and dispose of your containers. Gum and lozenges are acceptable only if I, the instructor, cannot see, hear, or smell them. Use of laptops and cell phones (texting!) during class is not permitted.

Students with Disabilities University Policy: SHSU adheres to all applicable federal, state, and local laws, regulations, and guidelines with respect to providing reasonable accommodations for students with disabilities. If you have a disability that may affect adversely your work in this class, you should register with the SHSU Counseling Center and then talk with me about how I can best help you. All disclosures of disabilities will be kept strictly confidential. Please note that no accommodation will be made until you register with the Counseling Center.

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