THP 3890 Junior Seminar, Section 20 (3 Credits)

Purchase College, SUNY Spring 2017 Prof. Rachel Dickstein

Wednesday 2:30-5:50 pm Location: HUM 2045 rachel.dickstein@purchase.edu

Office Hours: Wednesday 10:30-12:30 pm and by appointment HUM 0027

Course Description:

Junior Seminar is a workshop-based class in developing the ideas, research methods and plans to
pursue the Senior Project in the Theatre and Performance Board of Study. These projects may be
research-based or production-based and, in the case of production based projects, ideally involve
collaborations with other students in the major. (Details on specific concentrations attached to the back of
this syllabus.)

In the course, students will develop project ideas, learn research methods, and explore the nature of
collaborative work in the process of selecting the project they would like to propose to the Board of Study.
The course requires conducting research, developing written assignments and presentations, and
engaging in class discussions. These activities are designed to give students the necessary skills and
strategies for successfully completing proposals for Senior Projects and planning for successful research
and investigation within the THP Senior Project.

COURSE GOALS/LEARNING OUTCOMES:

- To give students research method skills to support the writing and research necessary to propose and
execute the Senior Project in Theatre and Performance.
- To guide students in focusing, strengthening, and articulating their plans and goals for the completion of
the undergraduate degree in Theatre and Performance.
- To encourage and mentor the development of collaborative projects within the Theatre and Performance
program mission: projects that are adventurous in scope, experimental in form, and featuring work by
writers of color and women.

Your final grade will be based on the following:

Attendance & Participation 20%

Abstract & Proposal Drafts 10%
Research presentation 10%
Final Written Proposal 15%
Proposal Presentation 15%
Shadowing report 10%
Research paper (drafts and final) 20%

Engaged and informed discussion is a critical part of this course. Respect for your classmates ideas,
critiques and suggestions about readings, research and creative work are also key. Absences and
lateness will lower your class participation grade. Lateness in turning in assignments or failure to turn in
assignments/ present research as scheduled will immediately lower grade by 10%.

PERFORMANCES: You are encouraged to go to all Senior Project productions, but you are required to
attend three performances. (Many of these are scheduled prior to spring break. Please plan accordingly!)
Tickets to all performances are free for Purchase students, although donations are often encouraged.

Q & A: We will have a Q and A session with seniors currently involved in mounting and writing their
senior projects mid semester.
SHADOWING: You are required to shadow one senior who is involved in a senior project production or
writing a senior project essay this term. You should select a student whose concentration is the same as
the one you intend to propose (ie if you are proposing a directing project, shadow a director.)

If shadowing a senior involved in a production, you must attend at least one rehearsal, one production
meeting and have at least one conversation with that student of some length about his/her artistic goals
and the realities of production. If shadowing a person writing an essay, you must consult with that student
at least three times at different times in the semester, in order to fully understand the extent and
progression of the research and writing process.

You must have the name and agreement with that senior by 2/1/17! Note: some of these projects are
occurring very early in the semester. Choosing a student whose work is being produced early will give you
an advantage!!

SPRING 2017 Senior Project production dates and essays (seniors to shadow listed)

Scholarly Essays: Kian Willemette, Adonis Cruz, Hope Richards

Playwrights: Andrea Wynn, Taylor Yellin, Aidan Hamid, Hunter Cobe (plus addition writers below
doing readings)

CLASS ATTENDANCE: Students are expected to come to class on time and participate in class actively.
EVERY unexcused absence will lower the final grade by one level. Involvement in theatrical
production or other college activities is never a valid reason for missing class or leaving early
from class. Three late arrivals count as an absence. If you miss class, it is your responsibility to find out
what you missed from classmates and make up material/submit assignments on time. If miss class or if
you are late, it is your responsibility to inform the teacher.

TECHNOLOGY: The use of cell phones and text messaging devices is not permitted during class time.
Students may use computers to take notes and access course materials. Students found using
computers for other purposes will be counted absent.

ACADEMIC HONESTY: Academic misconduct includes but is not limited to cheating, plagiarism, un-
permitted collaboration, forged attendance, knowingly permitting another student to plagiarize or cheat
from one's work, or submitting the same assignment in different courses without consent of the instructor.
Misconduct will result in penalties ranging from an F on the assignment to expulsion, depending on the
seriousness of the offense.

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CLASS SCHEDULE

1/25 * Introduction: Senior Projects, Artistic Statements, individual track consultations

2/1 Analyzing Senior Project Proposals

Discussion of Possible Senior Projects and Collaborations
Assignment of research project plays. Confirm shadowing senior.
Possible Projects assignment due in class

2/8 *Workshop: Theatre Research and the Informed Imagination

Library Session: Resources and Strategies for Research
Revised Possible Projects assignment posted to Moodle

2/15 Research Group Work Session

*Speed Dating Possible Senior Projects

2/22 Group Research presentations

Workshop in developing your own original thesis in research

3/1 *Workshop: The Research Essay Whats the Big Idea?

Research paper: Thesis, outlines and annotated bibliographies due (in class)

3/8* First draft of Abstracts + and Research Proposals One

3/15 First draft of Abstracts + and Research Proposals Two

3/22 * Q&A: Senior Projects 2016-17

Research Essay Draft due 3/22

3/29 Discussion of Senior Project presentations.

Final polish session. Written Proposals due in class for revision.
(Final upload by Friday 3/31/17)

4/5 BOS Proposal Presentations: Dress Rehearsal

4/12 SPRING BREAK No class

4/19* BOS Proposal Presentations: Round One

4/26* BOS Proposal Presentations: Round Two

5/3 Final Class Session Wrap-up and Peter Sprague intro to producing in THP spaces
Shadowing report (upload by 5/3)
Final Research Essay revisions due (upload by 5/3)

* sessions to be held jointly with Prof. Schildcrouts section of Junior Seminar

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Assignments

ALL ASSIGNMENTS ARE REQUIRED. ALL ASSIGNMENTS MUST BE COMPLETED TO RECEIVE A

PASSING GRADE IN THE COURSE.

1) Artistic Statement In Class Assignment

Write a one-two page personal statement that considers the following:

Describe one play, performance, artist (or other theatrical experience) that inspired/influenced
you
o Pinpoint the specific elements or aspects of the experience that inspired/influenced you
Describe why youve chosen to create/study theatre
o What do you hope to get out of being a Theatre and Performance major?
What do you imagine doing after you graduate?
...in a very practical, specific sense
...in a general, idealistic sense
What do you hope to experiment with as an artist in your senior project and beyond.

2) Analysis of SP Proposal Due 2/1

Read one of the SP Proposals available on Moodle, preferably in the area you think you might
pursue. Write an analysis (2 pages) of this proposal. (Keep in mind that this year there is a
slightly different production proposal process that these proposals do not reflect)
Describe the overall project as concisely as possible
Create a detailed outline of the proposal, with at least one line for each page
Offer a critique of the proposal
o Does it strike you as a worthwhile project? Which elements of the proposal did you find
persuasive (or not persuasive)?
o Is the proposal well-structured and well-written? Why or why not?

3) Possible Projects Oral Due 2/1, Written due 2/8

Each student will speak briefly (about 2 to 3 minutes per project) to the class about their initial
ideas for two possible senior projects (writing: two essay or play ideas; production based: one
stand alone, one festival). While you do not need to prepare a formal presentation, you should be
able to offer a basic description of the theatrical style and/or subject matter of the project, as well
as your reason for being interested in this project. As much as possible, discuss your role and
what you hope to do or accomplish with this project. Even if you are relatively certain about your
top choice project, you must offer a second possibility.

NOTE: The purpose of talking about possible projects is simply to get the ball rolling, not to set
anything in stone. By articulating your initial thoughts, you might 1) refine and gain confidence in
your own ideas, 2) receive helpful feedback and suggestions, and 3) find collaborators.

WRITTEN: After receiving feedback in class, you should revise these initial ideas and write them
down in more concrete form. You will then post these brief descriptions to Moodle no later
than 2/8, so other students may read them. The purpose of sharing these initial ideas is to
encourage students to become interested in each others projects and to create possible
collaborations among students.

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4) Research

Choose play by 2/1, individual work due 2/15, presentation in class 2/22

Each student will be assigned to be part of a group that reads, conducts research, and then creates a
presentation on one of these three plays:

Lisa DAmour, Detroit

Lynn Nottage, Ruined
Naomi Iizuka, Anon(ymous)

Every student is responsible for doing research and contributing materials in all of the areas outlined
below. You must complete your initial research and writing by 2/15, when the groups will meet to pool
their resources and collectively edit the materials into the best possible research presentation, which
they will present together on 2/22.

Individual Research: The professor will look at each students individual research during the
work session on 2/15, so be sure to bring all materials to class.
Group Presentations: Each member of the team must participate and speak during the
presentation, which should last approximately 15 minutes.

1) Summary
In no more than 200 words, summarize this play, including its theatrical style, setting/context,
major characters, plot, and themes. The goal is to be as descriptive as possible while being as
concise as possible. When your group meets to pool its resources, synthesize all of your
summaries into the strongest, most concise version for presentation the following week.

2) Production Information and Critical Reception

A production history consists of a chronological account of major performances of the play.
Include pertinent information, such as the theatre where the play was produced, date of the
premiere, director, and prominent cast members. If possible, find photographs or other images
(program, posters, ads) from the production. Be sure to properly cite your sources.

Each student must find at least two reviews of this play printed in major newspapers or
magazines. Make sure at least one is from the original production. Highlight important passages
from these reviews, focusing on the key ideas or themes the critic finds within the play (rather
than just whether the critic liked or disliked the play). In your group presentation, you should
combine your findings and cite at two reviews. Be sure to properly cite your sources.

3) Historical Context
What information will be most helpful in enriching our understanding of the historical moment and
social circumstances in which your play takes place? Each student should identify one major
historical frame through which to view the play, and then find at least two primary sources that
contain relevant and interesting information about that frame. For example, if your context is the
Civil Rights Movement, a primary source could be a 1965 newspaper editorial about the protests
in Selma or a document published by the Student Nonviolent Coordinating Committee (one of the
organizers of the protests). In the group presentation, your group should decide upon one
historical frame and quote two significant primary sources that illuminate something new and
interesting about historical context.

4) Theme
Beyond the plays topical subject, what do you think this play is about? Choose one concept,
idea, or argument you find in the play, and then find one scholarly article that addresses and

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 illuminates this theme. You must find this article in a scholarly journal or book published by an
academic press. For example, if your theme is theatrical depictions of nonviolence as a means to
social change, you could cite James Baldwin and Lorraine Hansberry: Two Revolutionaries, One
Heart, One Mind, Obsidian 9.2 (Fall 2008). Highlight at least two key passages that you think are
most relevant to your chosen theme. For the group presentation, you should choose one article
and use quotes from it to support your discussion of the chosen theme.

5) Preparing the Research Essay 3/1

This workshop session will help students write the research essay due 3/22 (see Assignment #7 below)
by further developing components that are crucial to the creation of a strong essay. Students should
come to class prepared to share three items: 1) thesis statement (idea), 2) essay outline (structure),
and 3) annotated bibliography (sources). Through discussion and feedback, students will refine these
building blocks, enabling them to improve their work on the essay assignment. Be sure to use proper
MLA format.

6) SP Abstracts & Research Proposal Drafts Group 1 3/8

Group 2 3/15

Each student will write two abstracts and a research paper proposal for possible Senior Projects, bring 18
hard copies to class, and then read it to the class on the assigned date. In addition, each student must
bring a research paper proposal and a bibliography, but this item is for the professor only and does not
need to be shared with the rest of the class.

Abstract: 300-word overview of the project and its goals. Students should create complete
abstracts for both possible proposals.
Research Paper Proposal: one-page description of the proposed research paper, clearly stating
the question you hope to answer through your research, and the kinds of sources youll examine
to answer that question.
Bibliography: List of potential resources for your research paper
o 5 Published Sources

NOTE: All students must be present at these sessions and participate in the workshop process by
asking questions and giving feedback on the abstracts as they are read in class.

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7) Research Essay
Draft due 3/22
Final Essay Due 5/3

This 8-page research essay must focus on an original thesis statement concerning the play you
researched for your group research presentation. The goal of this essay is to argue an original
perspective or idea, using informationand correctly citing sourcesfrom your research, in order to
create a persuasive argument. Your essay should include:

THESIS STATEMENT: A clear articulation of an original argument related to the play, along with
an explanation of why youre making this argument. In other words, why do you care about this
issue, and why should your reader care, too?
ROAD MAP: Concisely explain the path that you will take to argue the truth and validity of your
argument. What sort of evidence will you offer? What are your methods and materials?
INTRODUCTORY INFORMATION: Give the reader the basic information theyll need to
appreciate your argument. This might include a summary of the plays plot, its theatrical style,
key artists, etc., plus any information about relevant topics and themes. Be as descriptive as
possible, but also be sure to focus on the information most necessary to set up your original
argument.
EVIDENCE: Present research materials as evidence supporting your argument in a structured
and logical manner, based on the outline youve already created (see Assignment #7). You must
cite primary sources, including the text of the play, historical materials, and academic articles.
CONCLUSION: Draw a conclusion about the significance or importance of your argument. How
does your argument potentially apply to the big picture about theater, culture, or society? In
other words, why does your argument matter?
BIBLIOGRAPHY: Include a Works Cited page in MLA format that lists all the sources cited in the
paper.

NOTE: All of this essay MUST be in your own words, except when quoting other sources, and in those
cases you must include those words as a quotation and acknowledge the proper source. No form of
plagiarism is ever acceptable in a research paper. The key goal of this assignment is to use historical
and critical sources as support for your own original analysis and interpretation. Proper format and
citations (MLA) are crucial. PLEASE SUBMIT PAPER IN MICROSOFT WORD. I will return the draft with
comments in Track changes and it is your responsibility to familiarize yourself with this editing application
to be able to respond to suggested changes for the revised paper due at the end of the term.

8) Final Written Proposals Due 3/29 in class for revision. Final upload due 3/31

Information on Cover Sheet

Name
Type of Project
Title of Project

Classes taken to support this project (Class, Prof., Grade)

Additional theatre experience that supports this project

Academic Advisor
Credits completed to date
Number of transfer credits accepted
Requirements still needed for the major
Requirements still needed for Gen Ed /Core Curriculum
Requirements still needed for chosen concentration

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Documents:
2 Abstracts (300 words each)
o The abstract should be as descriptive as possible. Be sure to focus as specifically as
possible on these elements: Your role/work on the project, genre/style, story/plot, themes,
process.
Artistic Aims (300 words) for both projects
[Note: If you have briefly addressed Goals/Impact in your Abstract, you should go into greater
depth and detail in this section.]
o Personal Goals
Immediate: What do you personally hope to accomplish with this project? What
artistic challenges do you hope to conquer?
Long-Term: How might this project be an important step towards your post-
Purchase goals or plans?
o Impact Goals
Why do this project here and now? What impact could this production have for
your audience and community?
Description / Outline of Research Paper (500 words) for one project.
o Should be tailored to needs of particular project, but should clearly articulate a question
and propose a method of research for answering that question. Note that you need not
have completed all your research at this time, but you should show that youve identified
the pertinent topics and conducted initial research.
Annotated Bibliography
o 5 Published Sources

If applicable:
Project Timeline (1 page)
Production Issues (1 page)
o Cast Size / Requirements
o Copyright Issues
o Estimated Budget
o Possible Challenges: Show that you have adequately addressed any other challenges
inherent in your project (e.g., casting needs, technical elements, access to research
materials, etc.)

NOTE: All materials must be brought to class on 3/29. During that class, youll polish your work (format,
typos, etc.), and then submit your proposal as a single document on Moodle no later than 3/31. Please
title the document: LASTNAME.finalproposal.pdf

9) BOS Proposal Presentations Rehearsal 4/5

Round One 4/19
Round Two 4/26

Each student will create and present a 5-minute presentation on the First Choice for their proposed Senior
Project. Students who are collaborating on a Senior Project will collaborate on a single presentation (2
students=7 minutes, 3 students=10 minutes, 4 students=12 minutes, 5 students = 15 minutes). The
purpose of this presentation is to enhance the written proposal, and also to engage in a substantive
discussion and feedback session with the faculty.

Further guidelines for the presentations will be given in class, after policies and schedules have been
decided / confirmed by the BoS. Students must show up to make their presentations at their appointed
time. Outside of your specific time slot, you are not required to be present. I recommend using this time
to complete the written assignments due on 5/3.

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10) Shadowing Report Due 5/3

Your shadowing report should be a 4-5 page summary of what you learned following a current senior in
his or her senior project work. The report should not merely be a diary of what you observed, but
an engaged dialogue with the process you are observing so that the reader can see how you are locating
and identifying the best practices you observe or intuit could have been used.

Please include:
Comments on each phase of the writing or production process (which could include for scholarly
essays: initial drafts, revisions, research methods; for production projects phased should include:
rehearsals, tech, productions meetings, post mortems etc.)
Projections on how this senior's experience might relate to your own upcoming senior project and
what you can learn from your observations.
Questions your observations helped raise about the senior project learning journey.
For performance projects, you should also include an additional page to cover a thorough
overview of the final performance:
1. Describe the production, including space, sound, lighting, costumes, acting, and directing.
The main goal is not to praise or condemn, but to describe.
2. Describe other aspects of the whole event, including any advertising for the production,
your experience in the lobby before the performance, the program (design and information), your
sense of the audience as a group, your experience after the performance ended, and anything
else that might be relevant.
3. Offer an evaluation of the two most effective aspects of this production/event, especially if
they might offer a model for your own SP. What exactly made them so effective? Also comment
on the two least effective aspects (i.e., things you might avoid or do differently for your own SP).

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CHOOSING YOUR CONCENTRATION

There are several options for the THP senior project, each with their unique challenges. You may write a
research paper on a topic of your choice. You may research and direct a production of an existing play
and write a research paper on the play itself, in addition to submitting a thorough Directors Notebook.
You may, if you have taken Playwriting, write your own play and even direct it. You may, if you have
taken solo performance, develop a performance art project and perform it. All the concentrations and the
required courses that accompany each track are listed below.

Whatever option you choose, you must write essays to accompany your work, regardless of whether you
choose a predominantly academic or creative option. (For example, if you direct a play, you will write a
dramaturgical paper on the play you direct. If you write a play or do a solo performance, you will do
dramaturgical research on plays or performance texts similar in theme, topic, or style to your project, or
research related to the content of your project.) None of these options is easy. And you should not choose
a production track to avoid writing. Research and writing accompany each and every track concentration
in the Board of Study and the skills required by the creation of this capstone essay are a key component
to your Bachelor of Arts degree.

SENIOR PROJECT AREAS:

ACADEMIC RESEARCH ESSAY (theatre history, theory, or criticism)
30-40 pages

PERFORMANCE / PRODUCTION
Students may hold any of several major positions within the production process for their Senior
Project. All performances must be no more than 60 minutes long.
Directing a faculty-supervised student production of a devised or scripted work
Writing for the stage (play) or performance composition
Production including stage managing, designing and executing the design, or producing
for a faculty-supervised student production or a faculty-directed production
Performance practice including acting a major role in a faculty-supervised student
production or a faculty-directed production
Alternative performance practices e.g., solo or devised performance
Dramaturgy of a faculty-supervised student production or a faculty-directed production

All creative senior projects (in acting, directing, solo performance, design and writing for the stage) require
a statement of artistic aims, a contextual research essay, and technical essay evaluating the process and
results of the creative project.

Specific elective courses are prerequisites for each of these types of senior projects, as
listed below. Students should consult closely with their faculty advisor to ensure that these courses have
been completed by the end of the junior year.

In most cases, students must receive formal approval of their senior project proposal by the end of the
junior seminar. Acceptance of proposals is not automaticit is dependent on adequate student
preparation and fulfillment of required courses, as well as faculty availability and expertise. Students may
be asked to submit an alternate proposal or take additional courses before proceeding. The number of
students pursuing a particular type of senior project may be limited, subject to approval by the theatre and
performance faculty.
Advanced students who plan to explore the intersections of two or more areas in their senior project
should consult with their faculty advisor well in advance to shape an acceptable course of study and
senior project.

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The following courses are prerequisites for (or strongly recommended prior to) the senior project. In most
cases, courses taken to fulfill the upper-level electives requirement for the major also fulfill these senior
project prerequisites.

Directing: Prerequisites (12 credits):

1. THP 1800/ Theatre Design for Directors (4 credits)
2. THP 3680/Directing I (4 credits)
3. THP 3681/Directing II (4 credits)
Recommended:
Internship, dramaturge, or assistant director experience with acting productions in the Conservatory of Theatre
Arts (junior or senior year) (Directors: Directing a devised project are strongly recommended to have taken THP
3730 Collaborative Directing and Devising. Directors interested in Classical work are strongly encouraged to
take THP 4150 Directing Chekhov)

Writing for the stage: Prerequisites (8 credits):

1. PSW 1000/Playwriting I (4 credits)* *formerly THP 3590
2. PSW 2010/Playwriting II (4 credits)*
*formerly THP 3591
or an alternative, approved course in performance composition

Production: Prerequisites (10 credits):*

1. THP 1800/ Theatre Design for Directors(4 credits)
2. THP 2800/Managing the Production (3 credits)
3. An additional design or management course (3 credits)

Students who successfully complete THP 1800 and 2895 may be allowed to enroll in one or more of the
following theatre design/technology courses:
TDT 2080/Theatre Technology I TDT 2200/Scene Design I
TDT 2300/Costume Design I TDT 2400/Lighting Design I
Students who successfully complete THP 2800 may be allowed to enroll in the following theatre
design/technology course:
TDT 2600/Introduction to Stage Management

Performance practice: Prerequisites (15 credits):

1. ACT 1055/Fundamentals of Acting (3 credits)*
2. THP 2760/Movement for Actors (2 credits)
3. THP 3070/Acting Scene Study (3 credits)
4. THP 3315/Vocal Exploration for the Actor (3 credits)
5. One course in performance composition, directing, or writing for the stage (4 credits)

Alternative performance practices: Prerequisites (1112 credits):

1. ACT 1055/Fundamentals of Acting (3 credits)* *Credits increased from 2 to 3, Spring 2014
2. THP 2760/Movement for Actors (2 credits)
3. THP 3315/Vocal Exploration for the Actor (3 credits)
4. THP /One alternative performance-practices course in performance composition; for example:
THP 3510/Solo Performance: Performing the Self in Society (4 credits) or THP 3685/Ensemble Creation (3
credits)

Theatre history, theory, or criticism: Prerequisites (8 credits):

1. THP 3250/Theories of Drama and Performance (4 credits)
2. An upper-level course in dramatic literature (4 credits)
Students who are planning a senior project in performance studies should consult with their faculty advisor about
additional course options.

Dramaturgy: Prerequisites (8 credits):

1. THP 3000/Dramaturgy (4 credits)
2. THP 3500/Documentary Theatre: Performing Real Life (4 credits) or
PSW 1000/Playwriting I (4 credits)* *formerly THP 3590
or THP 3680/Directing I (4 credits)

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Note on The Performance Practice Concentration:

The Performance Practice (or Acting) track requires a SUSTAINED commitment over multiple semesters
to performance in faculty-directed and/or student-directed work. The student must create a portfolio of
MULTIPLE roles that the student has performed. While the Senior Project Proposal (and eventual written
essays) may focus on a single role in a single play from the student's senior year, that role should not be
the only role the student will have performed on campus before graduation.

The portfolio should consist of material that documents the study of acting as practiced through the roles
undertaken. This might include actor's journals, photos, research, production history or other materials as
related to the actor's craft. This document is in addition to the standard Artistic Aims, Technical Essay and
Contextual Essay portions of the Senior Project paper.

If a student wishes to propose a Performance Practice project and has not yet performed on
campus, that student MUST create a performance opportunity for himself/herself/themselves in
the spring of Junior year (prior to the completion of Junior Seminar.) Roles performed on other campus'
(in the case of transfer students) may not apply. (Exceptions can be made if the role was a substantial
one, was performed within the last year, and was in a faculty-directed context at another college.)

The student must also secure a director, prior to proposing the project, who will have
successfully completed the Directing sequence of courses prior to directing the student's
project. Successful completion of the Directing sequence means earning a B or better in Directing 1 and
Directing 2. Collaborative Directing and Devising may be substituted for one of these courses upon
approval and if the project under proposal is a Devised project.

Note: If a student is cast in the Fall or Spring Mainstage production, that MUST become the
students senior project regardless of proposals made in Junior Seminar. The Mainstage
productions are directed by professional artists. They are the most rigorous experience available for an
actor at Purchase and therefore most appropriate for senior project focus. Again, the student should have
a history of performing in other productions, but the Mainstage in this case would be the main role to
focus written material on in the Senior Project essay submissions.

CHOOSING A PLAY: Here are a few places to find plays to consider for performance projects:

Drama Book shop in Manhattan http://www.dramabookshop.com/ (leave yourself several hours

when you go in person!)

Purchase library (find plays in the THP section) In person: ask Rebecca Oling or Valencia
Wallace (Theatre specialists). Online:http://purchase.libguides.com/c.php?g=306242&p=2041954

NY Public Library of Performing Arts (book, digital and archive on film and tape)

www.newdramatists.org (search who are the playwrights)

http://thekilroys.org/list-2016/ (plus honorable mention list, all plays by women and women-
identified artists

https://www.playscripts.com/

https://www.dramatists.com/

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 http://www.clubbedthumb.org/ A wonderful off-Broadway company that produces funny and
strange new plays all 90 minutes and under!

Drama League Directors Project produces a one-act festival every December with all plays
under 30 minutes. Here are the last five years of plays as a sampling of some of the rich
offerings of one-acts (new work and classics) that would fit within the festival format:

Striptease By Slawomir Mrozek

The Bear By Anton Chekhov
My California By Lisa DAmour
No Such Cold Thing By Naomi Wallace
A Brief History of America By Dipika Guha
General Outline of GUN LOGISTICS (a Play for Knud) By Max Posner
Minotaur By Harrison David Rivers
Moony's Kid Don't Cry By Tennessee Williams
Better Homes and Homelands By Tim J. Lord
The Case of the Crushed Petunias By Tennessee Williams
The Forest of Without By Bradley A. Cherna
The Stronger By August Strindberg, Adapted By Alexandru Mihail
He Ate the Sun By Sheila Callaghan
MAY 39th By Callie Kimball
Mechanics of Love By Dipika Guha (one act version)
Cell By Cassandra Medley
Out at Sea By Slawomir Mrozek
When the Tanks Break By Anne Washburn
The Rock Garden By Sam Shepard
Bondage By David Henry Hwang
Grief By Craig Lucas
New Shoes By Sheila Callaghan
Hop Tha A by James Anthony Tyler

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New guidelines for Senior Project performance projects 2017-18

Senior Project Selection: Each student proposing a production project in Junior Seminar will create a
proposal with two options: a stand-alone production and a festival production. Proposals will not be
considered complete without two fully developed project proposals unless the student elects only to
propose a festival length production in which case he/she/they should craft two options of festival length
projects.

From the proposals for stand-alone productions, the BOS will select a season of plays (3 fall / 3 spring),
choosing works that best reflect a variety of theatrical styles and genres, topics and themes, and cultural
perspectives. Festival productions will feature works of shorter length on shared bills in the effort to better
secure audiences and create community around all of our programs senior project offerings.

Senior Project Collaboration: Proposals selected for stand alone production must have at least 3
senior projects connected to it, including a director who has completed Directing 1 and 2 prior to the start
of rehearsals. The proposal will not be considered with fewer than three seniors attached.

Stand-Alone Productions: Stand-alone productions can be up to 90 minutes long. (Note: This should not
be a two hour play with 30 minutes cut from it. The extended length of 90 minutes is meant to end the
practice of cutting full-length plays as has been done in past years. A stand alone production could also
be a double-bill of two one-act plays, each with their own creative team (or possibly with a shared design
team, crew, etc.), as long as each has 2 senior projects attached and the whole evening lasts no more
than 90 minutes.

Stand-alone productions will receive a weekend in a THP run theatre and require that the senior secure
stage management, designers and a full cast and creative team to stage and produce the project
independently.

Festival Productions: Proposals for inclusion in the festival should be 20-30 minutes long. (Note: this
should not be an hour-long play cut down to 30 minutes. No cutting is allowed.) While collaborations are
encouraged, these proposals do not have to have other senior projects attached to them. This format is
ideal for solo performers, playwrights interested in staging their own plays, musicians, dancers, multi-
media artists, and those interested in experimenting with devised performance in short format. These
production also require directors who have taken Directing 1 and 2. If proposed by an actor looking for a
director, know that Junior directors might be good candidates to approach for these works as they
prepare for proposing longer works the following year.

Festival productions are currently planned to have two performances over a three-day period. Seniors
proposing these projects should secure their own stage manager but may share designers with other
projects in the festival. More detail on the structure of the festival will be announced later this year by the
Conservatory Director and the THP BOS.

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