View the 2019-20 CDTPS graduate course timetable.
MA Required Courses (effective September 2019)
As an introduction to graduate-level theatre and performance history and historiography, this course will teach students how to do theatre and performance history. It will combine consideration of selected topics and case studies with methodological awareness of the problems and questions that arise in the writing of such histories. The course will endeavor to present theatre and performance history as a subject that encompasses dramatic literature, material culture, embodiment, visual culture—and even how history can itself be understood as drama. Emphasis will be directed towards learning how to contextualize and situate sources within their historical and cultural frameworks.
This course provides an experiential learning opportunity to MA students by allowing them to pursue a practice-based project of their design under the supervision of a faculty member and with feedback from their cohort. Major components of the course are the discussion and application of various models of integrating critical analysis into practice, the introduction of different modes of research-based and critical creative practice, the development of students’ individual projects toward a workshop-oriented presentation, and the practice of peer critique.
This course provides introduction to the overlapping fields of drama, theatre and performance studies at the graduate level. Engaging the key texts in these fields, the course also addresses recent scholarship and artworks. It may include playtexts, performance texts, and theory, and develops and refines critical reading and analysis of this material. The course also models how scholars in the three fields use case studies to integrate analysis with theory. It builds a foundation for scholarly inquiry by incorporating local, national and international scholarship, and examines interrelationships of scholarly and artistic works.
This course provides a capstone experience to MA students by allowing them to pursue a major research project of their design under the supervision of a faculty member. It has two options: a written scholarly thesis of approximately 40-50 pages or a hybrid artistic and scholarly project comprising a practical component and a substantial, 20-page long critical essay explicating the project’s conceptualization and execution. This work is evaluated by the course instructor and two other readers assigned from within the faculty of the Centre for Drama, Theatre and Performance Studies. The course develops students’ conceptual understanding and methodological competence.
PhD Required Courses (effective September 2019)
Sources and Concepts of Drama, Theatre and Performance Studies I is the first of a two-part cycle of foundational PhD-level semester courses in international histories of intellectual and creative ideas that inform drama, theatre, and performance studies. The courses invite students to examine the most significant dramatic and theatrical developments—in both theories and practices—across cultures. They focus on the historically, methodologically and theoretically informed analyses of dramatic texts, theatre productions, and performances with reference to their formal and stylistic choices, performative significance, cultural systems and conventions, and historical contexts. The courses provide ways of integrating culture-specific theory/criticism/ideas into a comprehensive understanding of world drama, theatre, and performance. This cycle may not use a fixed structure. According to the course instructor’s pedagogical approach and academic expertise, the courses may be organized along chronology, around themes, with a focus on geography, or with a combination of the previous perspectives.
Sources and Concepts of Drama, Theatre and Performance Studies II is the second of a two-part cycle of foundational PhD-level semester courses in international histories of intellectual and creative ideas that inform drama, theatre, and performance studies. The courses invite students to examine the most significant dramatic and theatrical developments—in both theories and practices—across cultures. They focus on the historically, methodologically and theoretically informed analyses of dramatic texts, theatre productions, and performances with reference to their formal and stylistic choices, performative significance, cultural systems and conventions, and historical contexts. The courses provide ways of integrating culture-specific theory/criticism/ideas into a comprehensive understanding of world drama, theatre, and performance. This cycle may not use a fixed structure. According to the course instructor’s pedagogical approach and academic expertise, the courses may be organized along chronology, around themes, with a focus on geography, or with a combination of the previous perspectives.
Modelling New Scholarship is a PhD-only seminar focusing on the practice of professional scholarship in drama, theatre, and performance studies. In the course, students cultivate the research, writing, and presentation skills necessary for success in graduate school and the professional sphere. It serves as an introduction to some of the most current scholarship in the field, and develops the tools—analysis, historiography, theory—required both to engage with and to produce original work. Students will examine how scholars translate their research into original contributions to the field: from dissertation chapters, to conference presentations, to journal articles, and monographs. Students will also gain an overview of the profession, including relevant organizations, conferences, and journals, and learn how to gear their writing toward a particular audience. The seminar also considers the ways in which scholarship in drama, theatre, and performance studies both intersects with, and distinguishes itself from, other disciplines, including cultural studies, history, ethnography, and literary studies. The course may include a public humanities and/or community-based component.
This course is designed to acquaint students with contemporary approaches and issues in teaching and learning as they pertain to the interdisciplinary field of drama, theatre and performance studies. Emphasis will be on the theory and practice of knowledge construction and transmission. By the end of the course, students will have developed a stronger understanding of the history of pedagogy in the field, considered important theoretical paradigms in relation to their practical applications, been introduced to Indigenous and non-Western perspectives on teaching and learning, developed and experimented with specific teaching techniques appropriate to their individual professional goals, and positioned their own values and practice in relation to a community of learning, producing a statement of teaching philosophy.
This course has three components: (1) students prepare for and compose their dissertation proposal; (2) methodological training through which students further develop their research skills pertaining to their specific dissertation projects; and (3) logistical guidance as the students fulfil language requirements, secure a supervisor, and compile a supervisory committee. This course is CR/NCR.
Prof. Djanet Sears
Spring, Tuesday, 6-9
Prof. Snezana Pesic
Fall, Tuesday & Thursday, 5-7
An advanced-level exploration of skills and techniques related to set and costume design for a production, with more opportunity for independent work. Students are expected to participate in Drama Centre productions (Director’s Showcase) in senior creative roles. Previous experience with designing set and/ or costume design for a theatre production is necessary.
Prof. Ute Scharfenberg
Spring, Wednesday, 6-9
Prof. Antje Budde & Monty Martin
Spring, Wednesday, 2-5
Increasingly, theatre practitioners (performers, dramaturgs, directors, designers, scholars, writers, and producers, etc.) are asked to participate in online, web-based live stream auditions, job interviews and present creative ideas to festival programmers or performance venues. They are expected to efficiently present themselves and their ideas through live-stream media. Our innovative course explores both critical discourses but also practices of live stream performance, internet theatre documentation and job interview situations. Students will be building and practicing professional, creative and critical analytical skills, when conceptualizing and performing live-stream tasks. This includes critical writing, technical skills in terms of setup, the use of equipment (sound, light, camera, post-production), digital post-production and representation strategies/performance. This is a project of Professor Budde’s creative research hub Digital Dramaturgy Labsquared or (DDL)2, and is co-funded by the Provost’s ITIF Fund and CDTPS.
Prof. Pia Kleber and David Rokeby
Fall, Wednesday, 4-7
This interdisciplinary graduate course explores the collision between the arts and technologies with all of its creative potential, unintentional collateral damage, compelling attraction, and complex social implications. It brings together scholars, artists, and students from Drama/Theatre, Visual Studies, Comparative Literature Music, Engineering, and Computer Science who are already excited by and engaged in this intersection. For students coming from an arts background the course offers direct experience of emerging technologies and chance to explore their applications to their research. For students with a technology background, the course provides the opportunity to integrate their research into an art-based, publicly presented project. The course exposes all of the students to rigorous interdisciplinary practices and their conceptual, practical and theoretical challenges through group discussions, concept generation, practical experimentation and research, and engagement with visiting artists. The course will culminate in a collaborative performance project.
Please note: entry into this course requires an interview. Contact Prof. Kleber at email@example.com.
Prof. Antje Budde
Fall, Tuesday, 3-5
The science of awe is an emerging new field of inquiry in psychology and cognitive science, exploring the nature and benefits of a sense of wonder and surprise in humans while also speculating on processes of machine learning/ artificial intelligence. In this new course we will investigate plays, dramaturgies/techniques and (live, virtual, artificial) performances of awe. Students will have an opportunity to experiment and critically create a project of awe to be presented at the end of term. Participants in this course - following a strong sense of self-direction, accountability and ethical professionalism - are expected to dive deeply into interdisciplinary research across arts and sciences and to playfully invent something, they didn’t know before. This course will be taught every week alternating between lecture/discussion sessions and making sessions. This is a project by Antje Budde’s Digital Dramaturgy Labsquared. Note: There is a chance, that an object-avoiding robot will visit the class.
Spring, Thursday, 1-3
This course will study changing approaches to Canadian theatre history in English since the publication of The Oxford Companion to Canadian Theatre in 1989. As we follow developments in the historiography of theatre in Canada over the past thirty years, we will also explore changing concepts of who and what is included in theatre histories and what it means to be Canadian. We will look at selected examples of theatre historiography, as well as selected plays that form part of those histories. Examples of historiographical approaches will include: national theatre history, including the constitutive effect of criticism; histories of activist theatre; spatialized theatre history; multicultural and intercultural performance histories; queer and feminist theatre histories; histories of indigenous performance. The final assignment may be an essay or a performance piece.
Prof. Tamara Trojanowska
Fall, Friday, 10-12
What has happened to the relationship between performance and religion? Has the Enlightenment project successfully secularized Western civilization and our thinking about a human subject in light of its most important horizon – the finitude of existence? Or can we still decipher religious thinking in the works of theatre artists whose practice, like that of the leading Western philosophers, such as Walter Benjamin, Emmanuel Lévinas, and Jacque Derrida, still bear traces of theological underpinnings when dealing with this finitude? These questions, among others, lead our investigation into transgressive cryptotheologies at the crossroads of performance, philosophy and religion in the Western theatre of the 20th and 21st centuries.
Reading and Research Courses
Our departmental policy regarding reading or research courses:
1. Students can take up to one Y or two H reading/research courses during their studies in our program, including previous MA reading/ research courses.
2. Generally, students who take two H reading/research courses should choose different topics for those and change instructors with a new H course. Exceptions can be made on a case to case basis pending approval of the department’s director or associate director. However, this will not happen on a regular basis.
To request a reading/research course you must:
1. Write a proposal for such a course.
2. Find an instructor who is willing to take you on as a student for such a course on the basis of your proposal.
3. Submit your proposal (after revisions by your instructor) along with the filled out Request for Reading and/or Research Course form and a tentative reading list. Make sure, that you and the instructor agree on the number, deadlines and grade value of the course assignments.
Make sure that you provide information about the frequency of meetings with your instructor (i.e. bi-weekly 2 hours, weekly 1 hour, monthly four hours).
4. Sign the form, get the signatures of your instructor and finally the signature of the associate director (after approval you can be enrolled by our Graduate Administrator). Always check the School of Graduate Studies deadlines for course enrolment.
The following courses may be of interest to CDTPS students. Please note that enrolment may be limited as students enrolled in these departments have enrolment priority.
Students whose interests can be served by courses offered in other departments should consult the Associate Director, Graduate about their choices. A few examples include: