School of Drama
2006
–
2007
b u l l e t i n o f ya l e u n i v e r s i t y
Series 102 Number 12 August 30, 2006
b u l l e t i n o f ya l e u n i v e r s i t y
New Haven c t 06520-8227
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©
2006 by Yale University. All rights reserved. The material in this bulletin may not be
reproduced, in whole or in part, in any form, whether in print or electronic media, without
written permission from Yale University.
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employment of individuals upon their qualifications and abilities and affirmatively seeks to
attract to its faculty, staff, and student body qualified persons of diverse backgrounds. In
accordance with this policy and as delineated by federal and Connecticut law, Yale does not
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Inquiries concerning these policies may be referred to Valerie O. Hayes, Special Adviser
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School of Drama
2006
–
2007
bulletin of yale university
Series 102 Number 12 August 30, 2006
Contents
Calendar 5
The President and Fellows of Yale University 6
The Officers of Yale University 7
Administration and Faculty 8
Mission Statement 13
History and Facilities 15
History of Yale School of Drama 15
History of Yale Repertory Theatre 15
Facilities 16
Yale School of Drama Computing 17
Degrees and Certificates 18
Living at Yale School of Drama 19
Training 19
Priorities 20
Attendance 20
Understudy Responsibilities 20
Departmental Assignments 21
Rehearsals 21
Work-Study Requirement 21
Elective Work-Study 22
Outside Employment 22
Recess 22
Registration 23
DRAM 6a/b, Survey of Theater and Drama 23
Course Standards and Requirements 23
Grading 24
Evaluation 24
Leave of Absence 25
Withdrawal 26
Transcripts 26
Dossier Service 26
Student Records 26
Yale School of Drama Student Government 27
Grievance Procedures
27
Sexual Harassment
Student Complaints
Living at Yale University
28
A Global University
28
Cultural Opportunities 28
Office of International Students and Scholars
29
International Center for Yale Students and Scholars 30
Health Services for Yale School of Drama Students 31
Resource Office on Disabilities 34
Religious Life at Yale 35
Athletic Facilities 35
Departmental Requirements and Courses of Instruction 37
Acting 37
Design 41
Sound Design 46
Directing 52
Dramaturgy and Dramatic Criticism 57
Playwriting 71
Stage Management 76
Technical Design and Production 81
Theater Management 88
Technical Internship Program 95
Special Research Fellow Status 95
Special Student Status 96
Tuition and General Expenses 97
Financial Aid Policy 102
Fellowships and Scholarships 107
Prizes 110
Enrollment 2006–2007 112
The Work of Yale University 117
Map of Yale University 120
4 S
chool of Drama
Calendar*
fall 2oo6
Aug. 31 Thurs. Fall-term time begins, 9 a.m. Registration for new students.
New student orientation sessions as scheduled.
Sept. 1 Fri. New student orientation sessions as scheduled.
Sept. 4 Mon. Labor Day; no orientation sessions; production work
proceeds as scheduled.
Sept. 5 Tues. Registration for returning students. New student
orientation sessions and returning student departmental
meetings as scheduled.
Sept. 6 Wed. New student orientation sessions and returning student
departmental meetings as scheduled.
Sept. 7 Thurs. Fall-term classes begin, 9
a.m.
Nov. 22 Wed. Fall recess begins, 12 midnight, for students not involved in
School of Drama or Yale Repertory Theatre productions.
Nov. 27 Mon. Fall recess ends. Classes resume, 9
a.m.
Dec. 16 Sat. Fall-term classes end. Work period begins, 12 midnight.
Dec. 20 Wed. Work period ends. Winter recess begins, 12 midnight, for
students not involved in School of Drama or Yale Reper-
tory Theatre productions.
spring 2oo7
Jan. 5 Fri. Winter recess ends. Work period resumes, 9 a.m.
Registration for all students.
Jan. 15 Mon. Martin Luther King, Jr. observance; classes suspended;
production work proceeds as scheduled.
Jan. 16 Tues. Work period ends. Spring-term classes begin, 9
a.m.
Mar. 10 Sat. Spring recess begins, 12 midnight, for students not
involved in School of Drama or Yale Repertory Theatre
productions.
Mar. 19 Mon. Spring recess ends. Work period begins, 9
a.m.
Mar. 26 Mon. Work period ends. Classes resume, 9 a.m.
May 5 Sat. Spring-term classes end. Work period begins, 12 midnight.
May 20 Sun. Work period ends, 12 midnight.
May 28
Mon. University Commencement.
*For students who are obliged by their curricula to work at Y
ale Repertory Theatre or in Yale School of Drama
productions, vacations will be subject to the production schedules.
The President and Fellows of Yale University
President
Richard Charles Levin, b.a., b.litt., ph.d.
Fellows
Her Excellency the Governor of Connecticut, ex officio.
His Honor the Lieutenant Governor of Connecticut,
ex officio.
George Leonard Baker, Jr.,
b.a., m.b.a., Palo Alto, California.
Edward Perry Bass, b.s., Fort Worth, Texas.
Roland Whitney Betts, b.a., j.d., New York, New York.
Jeffrey Lawrence Bewkes, b.a., m.b.a., New York, New York.
Gerhard Casper, ll.m., ph.d., ll.d., Atherton, California.
Donna Lee Dubinsky, b.a., m.b.a., Portola Valley, California.
Charles Daniel Ellis, b.a., m.b.a., ph.d., New Haven, Connecticut.
Jeffrey Powell Koplan, b.a., m.d., m.p.h., Atlanta, Georgia (June 2009).
Maya Ying Lin, b.a., m.arch., d.f.a., New York, New York (June 2008).
Margaret Hilary Marshall, b.a., m.ed., j.d., Cambridge, Massachusetts (June 2010).
William Irwin Miller, b.a., m.b.a., Columbus, Indiana (June 2011).
Indra Nooyi, b.s., m.b.a., m.p.p.m., Greenwich, Connecticut.
Barrington Daniel Parker, Jr., b.a., ll.b., Stamford, Connecticut.
Theodore Ping Shen, b.a., m.b.a., Brooklyn Heights, New York (June 2007).
Margaret Garrard Warner, b.a., Washington, D.C. (June 2012).
Fareed Zakaria, b.a., ph.d., New York, New York.
The Officers of Yale University
President
Richard Charles Levin, b.a., b.litt., ph.d.
Provost
Andrew David Hamilton, b.sc., ph.d., f.r.s.
Vice President and Secretary
Linda Koch Lorimer, b.a., j.d.
Vice President and General Counsel
Dorothy Kathryn Robinson, b.a., j.d.
Vice President for New Haven and State Affairs and Campus Development
Bruce Donald Alexander, b.a., j.d.
Vice President for Development
Ingeborg Theresia Reichenbach, staatsexamen
Vice President for Finance and Administration
Shauna Ryan King, b.s., m.b.a.
Yale School of Drama/Yale Repertory Theatre
Administration and Faculty
Administration
Richard Charles Levin, b.a., b.litt., ph.d., President of the University.
Andrew David Hamilton,
b.sc., ph.d., f.r.s., Provost of the University.
James Bundy, m.f.a., Dean of Yale School of Drama and Artistic Director of Yale Repertory
Theatre.
Victoria Nolan, b.a., Deputy Dean and Managing Director of Yale Repertory Theatre.
Susan Rochette, b.a., Financial Aid Officer.
Maria Leveton, b.s., Registrar.
Emeriti
Richard Gilman, b.a., Professor Emeritus of Dramaturgy and Dramatic Criticism.
George Charles Izenour, d.f.a., Professor Emeritus of Theater Design and Technology.
Leon Katz, ph.d., Professor Emeritus of Dramaturgy and Dramatic Criticism.
William Warfel, m.f.a., Professor Emeritus of Theater Design.
Faculty
Chuck Adomanis, m.f.a., Lecturer in Technical Design and Production.
Hilton Als, Lecturer in Dramaturgy and Dramatic Criticism.
Christopher Bayes, Lecturer in Acting.
*
Todd Berling, m.f.a., Lecturer in Technical Design and Production.
Robert Blacker, b.a., Lecturer in Dramaturgy and Dramatic Criticism.
John Boyd, m.f.a., Lecturer in Technical Design and Production.
Per Brahe, m.f.a., Lecturer in Acting.
David Budries, Assistant Professor (Adjunct) of Sound Design.
James Bundy, m.f.a., Professor of Drama.
Benjamin Cameron, m.f.a., Lecturer in Theater Management.
Elisa Padula Cardone, m.f.a., Lecturer in Technical Design and Production.
David Chambers, m.f.a., Professor (Adjunct) of Directing.
Joan Channick, j.d., Lecturer in Theater Management.
Karin Coonrod, m.f.a., Lecturer in Directing.
Liz Diamond, m.f.a., Professor (Adjunct) of Directing.
Marion Dienstag, m.f.a., Lecturer in Theater Management.
Diane DiV
ita,
m.f
.a.,
Lectur
er in Stage Management.
Keely Eastley, Lecturer in Acting.
Patricia Egan, b.a., Lectur
er in Theater Management.
Gwen Ellison, Lectur
er in Acting.
Beverly Emmons, Lecturer in Stage Management.
John Fisher, ph.d., Lectur
er in Playwriting.
Laura Freebairn-Smith, m.b.a., Lecturer in Theater Management.
Elinor Fuchs, ph.d., Professor (Adjunct) of Dramaturgy and Dramatic Criticism.
Jess Goldstein, m.f.a., Associate Professor (Adjunct) of Design.
Jane Greenwood, Professor (Adjunct) of Design.
Barbara Groves, b.a., Lecturer in Theater Management.
John Guare, m.f.a., Lecturer in Playwriting.
Wendall Harrington, Lecturer in Design.
Don A. Harvey, m.f.a., Professor (Adjunct) of Technical Design and Production.
Alan Hendrickson, m.f.a., Professor (Adjunct) of Technical Design and Production.
Robin Hirsch, b.f.a., Lecturer in Technical Design and Production.
Mary Hunter, Associate Professor (Adjunct) of Stage Management.
Tim Hunter, m.f.a., Lecturer in Technical Design and Production.
John Huntington, m.f.a., Visiting Associate Professor of Technical Design and Production.
Peter Francis James, m.a., Lecturer in Acting.
David Johnson, Lecturer in Technical Design and Production.
*David Kahn, m.s., Lecturer in Technical Design and Production.
Jonathan Kalb, d.f.a., Lecturer in Dramaturgy and Dramatic Criticism.
Greg Kandel, m.f.a., Lecturer in Theater Management.
Lisa Kron, b.a., Lecturer in Playwriting.
Mark Lamos, b.s., Lecturer in Directing.
Rocco Landesman, d.f.a., Lecturer in Theater Management.
Lindsay Law, Lecturer in Playwriting.
Ming Cho Lee, b.a., l.h.d., Donald M. Oenslager Professor (Adjunct) of Design.
Eugene Leitermann, m.f.a., Lecturer in Technical Design and Production.
James Leverett, m.a., Associate Professor (Adjunct) of Dramaturgy and Dramatic Criticism.
Todd London, ph.d., Lecturer in Theater Management.
Kenneth Lovell, m.f.a., Lecturer in Design.
Laura Brown MacKinnon, m.f.a., Lecturer in Stage Management.
Brian MacQueen, m.f.a., Lecturer in Technical Design and Production.
James Magruder, d.f.a., Lecturer in Dramaturgy and Dramatic Criticism.
Edward Martenson, a.b., Professor (Adjunct) of Theater Management.
Tom McAlister, Associate Professor (Adjunct) of Technical Design and Production.
Brendan McCall, m.f.a., Lecturer in Acting.
Beth McGuire, m.f.a., Lecturer in Acting.
Scott Metcalfe, b.m., Lectur
er in Sound Design.
James Mountcastle, m.f.a., Assistant Professor (Adjunct) of Stage Management.
Richard Nelson, b.a., Professor (Adjunct) of Playwriting.
Jane Nichols, m.a., Lecturer in Acting.
*Michael Nishball, b.f
.a
., Lectur
er in T
echnical Design and Production.
Victoria Nolan, b.a., Professor (Adjunct) of Theater Management.
Lynn Nottage, m.f.a., Lecturer in Playwriting.
Ellen Novack, b.a., Lectur
er in Acting.
A
dministration and Faculty
9
**On leave of absence 2006–2007.
Robert Orchard, m.f.a., Lecturer in Theater Management.
Joshua Peklo, m.f.a., Assistant Professor (Adjunct) of Technical Design and Production.
Pamela Prather, m.f.a., Lecturer in Acting.
William J. Reynolds, m.f.a., Lecturer in Technical Design and Production.
Marc Robinson, d.f.a., Professor (Adjunct) of Dramaturgy and Dramatic Criticism.
Randy Rode, m.s., Lecturer in Theater Management.
Gordon Rogoff, b.a., Professor (Adjunct) of Dramaturgy and Dramatic Criticism.
Howard Rose, b.f.a, Lecturer in Technical Design and Production.
Rebecca Rugg, d.f.a., Assistant Professor (Adjunct) of Playwriting.
Bronislaw Joseph Sammler, m.f.a., Professor (Adjunct) of Technical Design and Production.
Thomas Sellar, d.f.a., Assistant Professor (Adjunct) of Dramaturgy and Dramatic Criticism.
Vicki Shaghoian, m.a., Lecturer in Acting.
Catherine Sheehy, d.f.a., Associate Professor (Adjunct) of Dramaturgy and Dramatic
Criticism.
Ilona Somogyi, m.f.a., Lecturer in Design.
Rick Sordelet, m.f.a., Lecturer in Acting and Stage Management.
Hunter Nesbitt Spence, b.f.a., Lecturer in Technical Design and Production.
Stephen Strawbridge, m.f.a., Professor (Adjunct) of Design.
Matthew Suttor, d.m.a., Lecturer in Sound Design.
Jennifer Tipton, b.a., Professor (Adjunct) of Design.
Anne Trites, b.a., Assistant Professor (Adjunct) of Theater Management.
Ron Van Lieu, b.s., Lloyd Richards Professor (Adjunct) of Acting.
Ru-Jun Wang, m.f.a., Associate Professor (Adjunct) of Design.
Harry H. Weintraub, j.d., Lecturer in Theater Management.
Walton Wilson, b.f.a., Associate Professor (Adjunct) of Acting.
Jessica Wolf, b.f.a., Lecturer in Acting.
Steven Wolff, m.f.a., Lecturer in Theater Management.
Michael Yeargan, m.f.a., Professor (Adjunct) of Design.
Evan Yionoulis, m.f.a., Associate Professor (Adjunct) of Acting.
Grace Zandarski, m.f.a., Lecturer in Acting.
Production Staff
Charles Alexander, Shop Carpenter.
Shaminda Amarakoon, Shop Carpenter.
Kate Baker, Properties Runner.
Elizabeth Bolster, W
ar
drobe Supervisor.
Paul Bozzi, Staff Sound Engineer.
Brian Cookson, Properties Master
.
Janet Cunningham, Stage Carpenter
.
Matthew Gaffney, Shop Carpenter.
Don Harvey, Technical Director.
Alan Hendrickson, Electro Mechanical Lab Super
visor
.
Robin Hirsch, Associate Costume Shop Manager.
10 S
chool of Drama
Nora Hyland, Assistant Scenic Artist.
Linda Kelly-Dodd, Costume Project Coordinator.
Brian MacQueen, Sound Supervisor.
Tom McAlister, Costume Shop Manager.
Alison Merrick, Properties Assistant.
James Mountcastle, Production Stage Manager.
Joshua Peklo, Technical Director.
Sharon Reinhart, Shop Carpenter.
Bronislaw Joseph Sammler, Production Supervisor.
David P. Schrader, Properties Craftsperson.
Eric Sparks, Shop Foreman.
Don Titus, Lighting Supervisor, Inventory Manager.
Mark Villani, Warehouse Manager.
Ru-Jun Wang, Resident Scenic Charge.
Jason Wells, Head Electrician.
Jeanne Wu, Sound Operator.
Linda-Crystal Young, Head Electrician.
Clarissa Wylie Youngberg, Senior First Hand.
Mary Zihal, Senior Draper.
Administrative Staff
Richard Abrams, Assistant Operations Manager.
Tracy Baldini, Assistant Audience Services Director.
Sarah Bartlo, Senior Associate Director of Development for Yale School of Drama.
Deborah Berman, Director of Development and Alumni Affairs.
Daryl Brereton, Associate Information Technology Director.
Josephine Brown, Senior Administrative Assistant to the Dean, Associate Artistic Director,
and Directing Department.
Edward Bruchman, Associate Business Manager.
Katherine D. Burgueño, Business Manager.
Susan Clark, Senior Administrative Assistant for Development and Alumni Affairs.
Debbie Ellinghaus, Senior Associate Director of Development for Yale Repertory Theatre.
Maggie Elliott, Marketing Associate.
Janna Ellis, Director of Audience Services.
Ruth Feldman, Manager of Education and Accessibility Ser
vices.
Nancy Genga, Audience Services Assistant.
Marcia Isaacs, Senior Administrative Assistant to the Financial Aid Officer.
Edward Jooss, Safety Personnel.
Pamela C. Jordan, Librarian.
Jennifer Kiger, Associate Artistic Director of Yale Repertory Theatre.
Jacques Lamarre, Associate Director of Marketing and Communications.
Ellen Lange, Senior Administrative Assistant for Acting Department and Registrar
.
Janine Martinez, Associate Business Manager.
A
dministration and Faculty
11
Theresa Mensz, Library Services Assistant.
London G. Moses, Audience Services Assistant.
Steven Padla, Press Director.
Williams J. Reynolds, Operations Manager.
Randy Rode, Information Technology Director.
Audrey Rogers, Marketing Manager.
Claire S. Shindler, Assistant to the Deputy Dean.
Marla Silberstein, Senior Administrative Assistant for Production Department.
Jacob Thompson, Jr., Security Officer.
Sylvia Traeger, Group Sales Manager.
Anne Trites, Director of Marketing and Communications.
Mary Volk, Senior Administrative Assistant for Design/Sound Design Departments.
Denise Zaczek, Associate Business Manager.
12 S
chool of Drama
Mission Statement
Yale School of Drama and Yale Repertory Theatre are committed to rigorous, adventur-
ous, and passionate exploration of our art form. We embrace a global audience. Our
highest aim is to train artistic leaders—in every theatrical discipline—who create bold
new works that astonish the mind, challenge the heart, and delight the senses.
core values
Artistry
Through mastery of skills and techniques, we nurture imagination and court inspiration.
We seek fluent, authentic, original storytelling that reflects the complexity of the human
spirit and questions accepted wisdom.
Professionalism
High aspirations and profound dedication fuel our conservatory training. With a sure
sense of value of work in our lives, we pursue excellence and are willing to risk failure.
Collaboration
We champion the unique voice of each artist and strive for a collective vision of our goals;
working in balance, we prize the contributions and accomplishments of the individual
and of the team.
Discovery
We wrestle with the most compelling issues of our time, to derive new understanding for
the advancement of the human condition. We foster curiosity, invention, bravery, and
humor, promoting practical innovation and personal revelation as lifelong habits of the
artist.
Diversity
We joyfully embrace the differences that enrich our society and enhance our artistry, as
a means to approach and comprehend our humanity.
Community
W
e reach out to the widest possible audience for our work; in so doing, we celebrate the
ethical and animating exchange of idea and spirit with each other, with our field, and with
the world.
objectives
The goal of Yale School of Drama is to develop the artistry, craft, and attitudes of its stu-
dents to prepare them for careers in the professional theater.
Yale School of Drama and Yale Repertory Theatre together are a unique conservatory
for theater training within the University. In each discipline of the School of Drama the
aesthetic sensibility is translated into the language of the stage. The process of applying
theory to professional practice is central to the School of Drama, and its Yale Repertory
Theatre serves as the master teacher toward this aim.
Although many graduates’ paths evolve into distinctive careers in film, television,
teaching, and alternative forms of theatrical production and presentation, the primary
focus of training at Yale School of Drama is the artistry of the legitimate stage.
14 S
chool of Drama
History and Facilities
history of yale school of drama
Yale University founded a Department of Drama in the School of Fine Arts in 1924
through the generosity of Edward S. Harkness,
B.A. 1897. In 1925, while the University
Theatre was under construction, the first class of students was enrolled. George Pierce
Baker, the foremost teacher of playwriting in America, joined the faculty to serve as the
first chairman of the department, and the first Master of Fine Arts in Drama was con-
ferred in 1931.
In 1955, by vote of the Yale Corporation, the department was organized as a separate
professional school, Yale School of Drama, offering the degrees of Master of Fine Arts,
Doctor of Fine Arts, and Certificate in Drama (for those students who had completed the
three-year program without having the normally prerequisite bachelor’s degree).
In 1966, under the leadership of Dean Robert Brustein, Yale Repertory Theatre was
formed as part of Yale School of Drama, establishing a complementary relationship
between conservatory and professional practice.
history of yale repertory theatre
A hallmark of Robert Brustein’s artistic leadership of Yale Repertory Theatre from 1966
to 1979 was his insistence on a resident company of artists. For many years Brustein’s
dream of a permanent repertory company became an inspiration to the emerging field of
nonprofit theater. The model of Brustein’s programming choices, emphasizing the pro-
duction of new plays and classics of the world theater in vivid and inventive interpreta-
tions, has remained the centerpiece of the work of Yale Repertory Theatre ever since.
During the tenure of Lloyd Richards, Dean of Yale School of Drama and Artistic
Director of Yale Repertory Theatre from 1979 through 1991, the theater increased its
emphasis on the production of new plays. Notable writers such as Athol Fugard, Lee
Blessing, and August Wilson were among the playwrights who premiered their work at
Yale Rep during Richards’s leadership. Richards also introduced a new play festival, Win-
terfest, which annually introduced three or four new writers to the stage. Yale Rep was
one of the first resident theaters to regularly transfer serious work to the commercial the-
ater, developing a model of professional producing that changed the course of new play
development in the American theater.
Stan Wojewodski, Jr., Dean and Artistic Director from 1991 to 2002, was notable for
his commitment to the individual artist. W
ojewodski made long-term commitments to
Suzan-Lori Parks, Len Jenkin, Ralph Lemon, and numerous actors, directors, and per
-
formance artists. He also brought artistic companies into residence at Yale Repertory
Theatre, including Théâtre de la Jeune Lune and Mump and Smoot.
James Bundy, appointed dean and artistic director in 2002, emphasizes the production
of new works and bold interpretations of the classics that make immediate connections
to contemporary audiences. His first four years have included regional, American, and
world premieres by Henry Adams, Roberto Aguirre-Sacasa, Kia Corthron, Amy Freed,
Marcus Gardley, Kama Ginkas, Sunil Kuruvilla, Rolin Jones, David Rabe, Bill Rauch,
Sarah Ruhl, August Wilson, and Tracy Young, as well as the introduction of Will Power!,
an educational initiative designed to engage middle- and high-school students from
Greater New Haven in the world of Shakespeare and the theater.
Yale Repertory Theatre has produced ninety-four world premieres, two of which
have received the Pulitzer Prize. The theater has sent ten productions to Broadway,
earning nine Tony
® Awards and thirty-seven Tony® nominations. Yale Repertory The-
atre itself received the Tony
® for Outstanding Regional Theatre in 1991, and it has been
recognized for its outstanding contribution to the development of creative talent with
the Jujamcyn Theaters Award. In 2002 Yale School of Drama/Yale Repertory Theatre
received the Governor’s Arts Award in recognition of its remarkable achievement and
contributions to the arts in Connecticut.
facilities
The University Theatre at 222 York Street is Yale School of Drama’s center. It includes a
proscenium theater seating 654, which is shared with the undergraduate dramatic asso-
ciation. The University Theatre also houses the main administrative offices, the scene,
prop, and costume shops, several classrooms, and the Drama Library.
Yale Repertory Theatre is located in a distinctive historical building on the corner of
Chapel and York streets. Formerly the Calvary Baptist Church, the theater contains a
491-seat auditorium facing a modified apron stage, and the Yale School of Drama/Yale
Repertory Theatre box office.
The
New Theater in Holcombe T. Green, Jr. Hall, located at 1156 Chapel Street, con-
tains a flexible performance space seating up to 200. This building also houses the Yale
School of Art.
The School of Drama Annex, at 205 Park Street, houses the Design department, the
Robertson Computer Lab, the Laurie Beechman Center for Theatrical Sound Design
and Music, a lighting lab, performance space, and several classrooms.
217 Park Street contains the Yale Cabaret as well as rehearsal rooms, classrooms, and
faculty offices.
149 York Street is home to several key administrative offices, including registrar,
admissions, business, and financial aid, as well as an extensive paint shop, rehearsal
rooms, classrooms, and faculty offices. The Digital Media Center for the Arts is also
housed in this building.
The
Drama Library, operated by the Yale University Library system, contains over
30,000 volumes primarily for the use of students in Yale School of Drama. The library,
situated in the University Theatre building, houses one of the largest working collec-
tions in existence of books and periodicals on drama and theater. Books on the perform-
ing arts other than theater, motion pictures, television, and radio are also represented in
the collection. Students in the School of Drama are free to use the collections in the
libraries of other graduate and professional schools, the Sterling Memorial Library, and
the Beinecke Rare Book and Manuscript Library.
16 S
chool of Drama
The Digital Media Center for the Arts (DMCA) at 149 York Street is a multimedia facil-
ity that was created to explore new areas of education and cross-disciplinary interaction
that result when traditional art collides with the computer age. The center was conceived
and designed by Yale’s leaders in art, architecture, drama, history of art, film studies, and
music from the University Art Gallery, the Center for British Art, the Arts Library, and
Information Technology Services.
yale school of drama computing
Yale School of Drama urges all students to consider the purchase of a computer and
appropriate software to use during their time at the School of Drama. The School of
Drama has established purchase programs with several vendors that provide the oppor-
tunity to purchase a reliable, competitively priced laptop compatible with the Yale net-
work. For more information on these programs, and for hardware/software require-
ments for each department, please refer to our Web site, www.yale.edu/drama/
students/computers.
Student Computer Labs
Yale School of Drama maintains the Robertson Computer Lab in the basement of 205
Park Street. The facility is open to School of Drama students twenty-four hours a day for
school-related projects. It features eight Dell workstations, two flatbed scanners, one
high-speed laser printer, and one color printer. Software in the lab includes Adobe
Design Collection, Autocad, Microsoft Office Professional, VectorWorks, Lightwrite,
Final Draft, and FileMaker Pro.
There is a grouping of four computers and one laser printer in the School of Drama
Library at 222 York Street. These are available when the library is open, and have
Microsoft Word, Excel, and Internet access.
Other student computers are assigned to the various departments for use by students
engaged in department-related academic and production work. Networked laser print-
ers assigned to each department can be accessed by students. A student should check with
his or her department chair for further information.
Wireless Network Access
Yale University and Yale School of Drama provide a range of computer resources aimed
at supporting student needs. Students should visit the Yale Student Computing Web site
at www.yale.edu/sc/manual/online_resources.html to learn how to access the University
computer network and wireless networking, e-mail, gaining access to anti-virus and anti-
spyware software, and other crucial information. The School of Drama’s specific com-
puter information can be found at www.yale.edu/drama/students/computers.
H
istory and Facilities
17
Degrees and Certificates
master of fine arts
The Master of Fine Arts (M.F.A.) degree is conferred by the President and Fellows of Yale
University on students holding a bachelor’s degree from an accredited college who com-
plete with distinction any of the programs of study outlined and who exhibit excellence
in their professional practice. Three years in residence is the time required for this work;
on rare occasions the faculty of Yale School of Drama may reduce the residency require-
ment, but in no case below a minimum of two years. The
M.F.A. is awarded in the fol-
lowing areas of study: Acting, Design, Sound Design, Directing, Dramaturgy and Dra-
matic Criticism, Playwriting, Stage Management, Technical Design and Production, and
Theater Management.
doctor of fine arts
The Doctor of Fine Arts (D.F.A.) degree is conferred by the President and Fellows of Yale
University on students who hold the
M.F.A. degree in Dramaturgy and Dramatic Criti-
cism and who have completed the
M.F.A. qualifying comprehensive examinations and
have written a dissertation of distinction on a subject approved by the
D.F.A. committee.
This committee is comprised of the full-time faculty of the Dramaturgy and Dramatic
Criticism department.
certificate in drama
The Certificate in Drama is conferred by the President and Fellows of YaleUniversity on
students who do not hold an undergraduate degree from an accredited college, but who
completed with distinction the three-year program of study in Acting, Design, Sound
Design, Directing, Playwriting, Stage Management, or Technical Design and Produc-
tion. The Certificate in Drama is subject to the same training requirements as that of the
M.F.A. degree. Upon written request the certificate will be converted to an M.F.A. degree
if a student later satisfactorily completes an accredited bachelor’s degree elsewhere.
technical internship certificate
The Technical Internship Certificate is awarded by Yale School of Drama to students
who complete with distinction the one-year internship program of the Technical Design
and Production department.
commencement
All candidates on whom degrees or certificates are to be conferred must be present at the
Commencement exercises unless excused for urgent reasons by their department chair
with the approval of the dean. Requests to be excused from Commencement must be
submitted by May 1, 2007.
Living at Yale School of Drama
Yale School of Drama consists of theater professionals and students working together in
a conservatory setting. The life of the School of Drama includes classroom training and
a variety of production experiences, ranging from readings to performances at Yale
Repertory Theatre.
training
The Classroom
Students are prepared in the particular disciplines for which they were admitted. Each
department in Yale School of Drama has a sequential series of courses unique to its dis-
cipline and designed to develop an advanced understanding of the student’s program of
study and the art of the theater.
Production
Production activity is central to the training in all departments, featuring more than forty
productions at Yale School of Drama, Yale Repertory Theatre, and Yale Cabaret each
season. The School of Drama’s production calendar is the most extensive of any theater
training program in the United States. These productions afford ample opportunities to
present student work to the faculty so that they can evaluate the progress of the student
from the classroom to the stage.
Yale School of Drama Productions
Yale School of Drama presents six plays in productions that are open to the general
public. Three of these are selected in consultation with the Directing department; three
are new plays from the Playwriting department, produced in repertory in the spring
term. Additional productions within the School of Drama, performed for invited audi-
ences only, include verse plays, new plays from the Playwriting department, and projects
selected by the chair of the Acting department.
Yale Repertory Theatre
Yale Repertory Theatre serves as master teacher for Yale School of Drama. Each depart-
ment has established a unique relationship with this professional theater and challenges
the student to work at the level of this distinguished professional company
. Y
ale Rep is a
member of the League of Resident Theatres and draws talent from around the world. In
addition to offering main stage productions and special presentations, Y
ale Rep connects
to the community through outreach programs including the Dwight/Edgewood Project
and Will Power! Students wishing to participate in either program may contact Ruth
Feldman, education manager
.
Yale Cabaret
Yale Cabaret provides an extracurricular outlet for exploration of a wide range of mate-
rial as determined by its leadership. Yale Cabaret is entirely student run, with its own stu-
dent artistic and management leadership. It is the only area of production at Yale School
of Drama where students are free to move out of their primary discipline of study: actors
sometimes direct, managers act, and playwrights sing.
To accomplish the work of Yale School of Drama, an environment of order and discipline
is essential. The following procedures exist in order to foster and maintain an appropri-
ate and supportive environment.
priorities
The administration attempts to avoid conflicts between the requirements of the various
programs and activities. Should such a conflict arise, the student is responsible for dis-
cussing the problem with his/her department chair. The priority of scheduling is as fol-
lows: (1) Yale Repertory Theatre rehearsal and performance calls (including required
work-study); (2) classes; (3) publicly performed productions of Yale School of Drama;
(4) other assigned production projects (acting projects, new plays, verse plays, etc.);
(5) required work-study other than Yale Rep rehearsal and performance calls covered in
(1) above; (6) Yale Cabaret productions; (7) elective work-study. A comprehensive pro-
duction calendar is issued at the beginning of the academic year. Exceptions to the pri-
orities do not set precedent.
attendance
Attendance at scheduled classes, special activities, and Yale School of Drama meetings is
required in order to remain in good standing. Lateness is not tolerated. Unexcused
absences from class, production assignments, rehearsals, and work-study assignments
are not permitted. Requests for absences must be approved in writing in advance by an
instructor, the director or stage manager, the rotation or assigned work-study supervisor,
and the chair of the student’s department, and filed with the registrar. Rehearsal and per-
formance calls are posted each day. Unavoidable lateness for these calls must be reported
to the individual in charge as soon as possible, but no later than thirty minutes before the
call. Illnesses or doctor’s appointments must be reported to the registrar’s office
(432.1590). Lateness or unexcused absence may result in disciplinary action or dismissal
from the School of Drama.
understudy responsibilities
Understudy assignments at Yale Repertory Theatre are treated seriously. Understudies
are expected to be available for any performance at a moment’s notice. Unless at home
or at another posted rehearsal, understudies must inform the stage manager of their loca-
tion prior to the performance. Student understudies must have the permission of the
chair of the Acting department before leaving New Haven. Failure to be available to per-
20 S
chool of Drama
form as an understudy will be treated as unprofessional behavior subject to an action of
dismissal by the faculty.
departmental assignments
Each department assigns its students responsibilities in major productions that relate to
their particular program of study. All members of the cast and crew of a production at
Yale School of Drama are obligated to strike the show.
Casting
Actors are cast at the discretion of the chair of the Acting department. Directors must
discuss their casting suggestions with the Acting department chair and appropriate
Directing faculty. A cast list is posted only after it is approved by the dean. The casting
pool for Yale School of Drama productions and projects consists of those acting students
who have demonstrated in class the necessary discipline and collaborative attitudes. Any
deficiency in these qualities results in removal from all casting until such deficiency is
corrected to the satisfaction of the faculty. Once cast in a role, the student is required to
fulfill that obligation.
rehearsals
Yale Repertory Theatre and Yale School of Drama maintain an open rehearsal policy.
However, rehearsals at Yale Rep may be closed by the director at any time. School of
Drama rehearsals may be closed by the director with the permission of the chair of Stage
Management, and with notice posted on the callboard.
Rehearsals are normally scheduled from 2.30 to 11
p.m. Monday through Saturday.
Sunday is normally the day off. With advance notice and approval of the dean, directors
of major productions at Yale School of Drama may change the day off from Sunday to
Saturday.
The number of rehearsal hours for any given project is set by the Acting and Direct-
ing departments. Actors are ordinarily called no more than five hours in one day for
rehearsal of a Yale School of Drama production. Actors who are double cast cannot
commit to Yale Cabaret productions. A director may ordinarily rehearse a major School
of Drama production no more than seven hours in one day. Directors should cooperate
with each other to ensure that actors have reasonable breaks. The final week before the
opening of a production is an exception to these rules. The administration attempts to
schedule these times in the best interests of the production and the School of Drama.
work-study requirement
Yale School of Drama and Yale Repertory Theatre together maintain an ambitious pro-
duction calendar. The combination of artistic aspiration and significant scope in pro-
duction creates vital opportunities for training, both in a student’s own discipline and
across disciplines. Such opportunities are made possible, in part, by students sharing
responsibility for the varieties of work that support the production experience for all.
L
iving at Yale School of Drama
21
Work-study reinforces Yale School of Drama’s commitment to collaboration and
community by giving all students responsibility for participation in artistic, production,
and administrative work in accordance with the mission of the School of Drama and
Yale Repertory Theatre.
Therefore, every student in Yale School of Drama is required to fulfill a minimum of 150–200
hours of work-study, either on a production or on other required work-study assignment.
The
dean and deputy dean, in consultation with the work-study committee, set the number
of hours devoted to required work-study jobs according to the needs of the School of
Drama and Yale Repertory Theatre. The production supervisor or student labor super-
visor makes all work-study assignments.
elective work-study
In addition to required work-study, there are a number of elective work-study opportu-
nities at Yale School of Drama and Yale Repertory Theatre. Elective work-study hours
are exclusively supplemental: they cannot be substituted for required work-study hours.
Students who seek elective work-study should consult with the financial aid office to
determine the impact, if any, of elective work-study income on their financial aid awards.
outside employment
Yale School of Drama is a professional environment and, as such, encourages profes-
sional work. Nonetheless, the School of Drama does not encourage students to pursue
outside work at the expense of their obligations to the School. The School of Drama
demands that students prepare for classes and rehearsals, attend them, and participate
fully in the life of the School. Students shall submit requests to work outside the School
of Drama to the appropriate department chair in sufficient time to be reviewed by the
dean. Under no circumstances should actors commit to projects outside the School. It
should be understood that permission to participate in outside projects (whether paid or
not) is rarely given.
recess
Whenever a student is required to forgo all or part of a Yale School of Drama recess,
including summer recess, because of a department or work-study assignment for either
a School of Drama or Yale Repertory Theatre production, the student is paid eight hours
for each vacation day in which he or she is required to be present up to a maximum of
forty hours a week. Compensation for such is set at the prevailing work-study rate.
Should the assignment not require eight hours of work per day or forty hours per week,
as determined by the department chair for department assignments and by the work-
study supervisor for work-study assignments, the student may be assigned additional
work by the work-study supervisor.
If the additional assigned work-study exceeds forty hours per week, the student is paid
at time-and-one-half. Examples of assignments that often do not require eight hours per
day or forty hours per week are: departmental assignments such as lighting and sound
22 S
chool of Drama
designers and dramaturgs during the design phase; master electricians and sound engi-
neers during a build period; understudies during performance weeks; and work-study
assignments such as ushers and electrics crew during performances and load-ins, respec-
tively. In these circumstances, students are notified of any additional assignments, up to
forty hours, by the work-study supervisor or production supervisor prior to the start of
the original assignment. Student actors and stage managers paid on Actors’ Equity con-
tracts for the full production period are not eligible for additional recess pay.
registration
Students must register prior to the beginning of classes in the fall. Any student who
cannot attend the scheduled registration must receive written permission from his or her
department chair and notify the registrar in advance. Students who fail to register on
time without proper permission are subject to a $10 late fee. All international students
are required to complete a nonacademic registration with the Office of International
Students and Scholars prior to the beginning of classes, in addition to Yale School of
Drama registration.
All students must submit their course schedules to the registrar within one week of
the first day of classes of each term and are responsible for notifying the registrar of any
changes in their schedules.
drama 6a
/
b, survey of theater and drama
Solid grounding in theater history is a foundation for lasting creativity. Therefore
DRAM 6a/b, Survey of Theater and Drama, is a required course for all Certificate in
Drama and Master of Fine Arts candidates in Yale School of Drama. Students may be
exempted from this requirement through an examination administered by the Dra-
maturgy and Dramatic Criticism faculty at the beginning of each term.
course standards and requirements
Each department develops its own course of study in consultation with the dean. The
advantage of a small institution lies in its ability to give personal attention; each individ-
ual is encouraged to expand and broaden his or her program of study, which may encom-
pass assigned off-campus field trips and field work, with the aid of the chair of that
department. A department may choose to vary specific requirements on an individual
basis with the approval of the dean.
Yale School of Drama students may take courses for credit, audit, or the Pass/Fail
option at any of the other schools at the University with the approval of the student’s
adviser, department chair, and the course instructor. Students enrolling in courses at
other schools are subject to all policies and deadlines of both that school and the School
of Drama. Auditors must receive permission from the instructor before enrolling as an
auditor, as not all faculty permit auditors in their classes. The minimum general require-
ment for auditing is attendance in two-thirds of the class sessions; instructors may set
additional requirements for auditing their classes. Outside courses are graded according
L
iving at Yale School of Drama
23
to School of Drama policy. Process and laboratory courses are ordinarily open only to
students in the department offering the courses.
grading
Except where noted, courses at Yale School of Drama are offered on a Pass/Fail basis.
Grades are posted at the end of each term. At the discretion of the instructor, courses in
Stage Management, Technical Design and Production, and Theater Management may
be offered as Honors (92–100), High Pass (82–91), Pass (75–81), Fail (below 75), With-
drew. At the discretion of the instructor, courses in Dramaturgy and Dramatic Criticism
may be offered as: Honors+ (98 and above), Honors (95–97), Honors- (92–94), High
Pass+ (88–91), High Pass (85–87), High Pass- (82–84), Pass+ (78–81), Pass (75–77), Fail
(below 75), Withdrew.
Should a student fail to complete all required course work by the end of a term, an
instructor may give a grade of Incomplete. However, the student is required to complete
the remaining course work
within one month of the end of the term. If, for good reason, the
student is unable to complete the course requirements during the allotted time, the stu-
dent may petition the instructor for an extension. If, after the allotted time or the period
of extension, the course requirements are not met, the grade of Incomplete will be con-
verted to a grade of Permanent Incomplete.
A student may withdraw from a required course only with permission of the depart-
ment chair.
evaluation
Students are evaluated on the basis of their application to training, development of craft, acade-
mic and production performance, and professionalism.
The first year of residence is probationary for all students at Yale School of Drama.
The faculty shall evaluate each student’s progress during the first year, and a student who
fails to meet all the requirements of the program and to progress appropriately in the cri-
teria noted above may be dismissed at any time despite having achieved passing grades in
all course work.
At the end of each student’s first year, the faculty may determine that a student has
failed to advance appropriately in the criteria noted above, and may extend the student’s
probation into his or her second year. See section on Notice of Probation below.
Students in the second year and third year continue to be evaluated on the criteria
noted above. A student’s failure to advance appropriately in the evaluation of the faculty
may result in his or her being placed on probation during the second or third year. See
section on Notice of Probation below.
Serious breaches of Yale School of Drama or Yale University policy, including failure
to meet class requirements of departmental or work-study assignments (such as persis-
tent absence from classes without excuse, repeated failure to meet and make up class
assignments, unprofessional behavior in production, and the like), may lead to immedi-
ate dismissal of a student who is not currently on probation.
24 S
chool of Drama
Each department may have additional guidelines and standards for performance. For
further information on requirements specific to each program, carefully refer to depart-
ment descriptions later detailed in this bulletin.
Students who have satisfactorily completed their course of study and have successfully
fulfilled all non-classroom requirements of their program are awarded the Certificate,
M.F.A., or D.F.A. by a majority vote of the faculty.
Notice of Probation
Notice to extend a first-year student’s probation into his or her second year, or to place
a second- or third-year student on probation, shall be given in a formal probation meet-
ing with the dean or deputy dean and the student’s department chair. The student is
encouraged to bring to the probation meeting a faculty member or another adviser
selected from the administration of Yale School of Drama. Following the meeting, the
student shall receive written confirmation of his or her probationary status, the reasons
for the probation, and the improvement required within a defined time frame to have this
probationary status removed. Failure to have the probationary status removed within the
time frame will usually lead to dismissal.
Probation beyond a student’s first year may be imposed when the faculty expresses seri-
ous reservation about the ability or willingness of the student to meet the requirements
of his or her program when evaluated by the criteria noted above.
Dismissal may be imposed at any time for serious breaches of Yale School of Drama or
Yale University policy, or when the faculty determines that a student on probation is not
meeting the requirements of his or her program when evaluated by the criteria noted
above. Once dismissed, a student is not eligible for readmission.
leave of absence
Any student who plans to interrupt his or her program of study temporarily with a leave
of absence must make formal written application to the chair of his or her department,
submit the appropriate form to the registrar, and obtain written approval from his or her
department chair and the dean. Conditions for returning to Yale School of Drama may
be specified by the dean. A leave of absence is usually granted for one, two, or three
terms, usually for reasons of health. The faculty does not normally grant a leave of
absence to enable a student to take on a professional commitment.
A student who is on a leave of absence does not have to file a formal application for
readmission, but must notify the registrar in writing of his or her intention to return.
Such notification should be given at least eight weeks prior to the end of the approved
leave. In addition, if the returning student wishes to be considered for financial aid, the
student must submit appropriate financial aid applications to Yale School of Drama’s
financial aid officer to determine eligibility.
A student on a leave of absence is not eligible for financial aid, including loans, or for
the use of any University facilities normally available to registered students with the
exception of the Yale Health Plan, in which he or she may enroll through the Student
Affiliate Coverage plan. In order to secure continuous
YHP coverage, enrollment in this
plan must be requested prior to the beginning of the term in which the student will be
L
iving at Yale School of Drama
25
on leave or, if the leave commences during the term, within thirty days of the date when
the leave is granted. Coverage is not automatic; enrollment information may be found in
the
YHP Student Handbook.
If a student does not return at the end of an approved leave of absence and does not
request and receive an extension through the faculty, he or she is automatically dismissed
from Yale School of Drama.
withdrawal
A student who wishes to end his or her program of study should submit the appropriate
withdrawal form to the registrar. Normally, a student who has chosen to withdraw is eli-
gible to apply for readmission. A student who is asked to withdraw by the faculty is not
eligible to apply for readmission. Refer to page 33 regarding Yale Health Plan premium
refunds, if applicable, and coverage.
transcripts
The registrar of Yale School of Drama maintains student transcripts permanently. Tran-
scripts are issued by the registrar only by written request from the student and only if the
student has no outstanding debts to the School of Drama or the University. No charge
is made for the first mailing of a transcript; thereafter, a charge of $5 per transcript is
imposed. Each fall the registrar provides in each student’s registration packet an
unofficial copy of the student’s academic record to date.
dossier service
The Registrar’s Office maintains an informal dossier service for Yale School of Drama stu-
dents and alumni. No charge is made for this service to students in residence. For students
who have graduated and want to maintain dossiers to be mailed on request, a charge of
$10
is imposed to cover duplicating and mailing costs for each request. Students interested in
starting a dossier should consult the registrar.
student records
The registrar of Yale School of Drama maintains academic records on each enrolled stu-
dent. The following types of academic records are maintained: the application for admis-
sion and supporting documents such as standardized test scores, transcripts of under-
graduate or other prior study, and letters of recommendation; registration forms, grade
reports, course schedules, petitions filed by the student, and any other documents or cor-
respondence pertaining to the student’s academic work or status within the School of
Drama. The Family Educational Rights and Privacy Act of 1974, also known as the Buck-
ley Amendment, governs access to the academic records. Each year, the University pub-
lishes the current text of the policy statement on student records in the
Yale Bulletin &
Calendar.
The statement has two chief purposes: the first is to describe the nature of a stu-
dent’s right to review his or her educational record; the second is to describe the Uni-
versity’s policy of confidentiality in the maintenance of student records.
26 S
chool of Drama
yale school of drama student government
Yale School of Drama Student Government (SDSG) strives to enhance the educational
experience of each student by being a forum for students’ ideas and concerns and acting
as a liaison between students and the faculty and administration; and by promoting edu-
cational and social activities that help foster a strong sense of community within the
School of Drama.
grievance procedures
In general, a student with a complaint or grievance should see his or her department
chair.
Complaints of Sexual Harassment
Sexual harassment is antithetical to academic values and to a work environment free from
the fact or appearance of coercion. It is a violation of the University policy and may result
in serious disciplinary action. Sexual harassment consists of nonconsensual sexual
advances, requests for sexual favors, or other verbal or physical conduct of a sexual nature
on or off campus, when: (1) submission to such conduct is made either explicitly or
implicitly a condition of an individual’s employment or academic standing; or (2) sub-
mission to or rejection of such conduct is used as the basis for employment decisions or
for academic evaluation, grades, or advancement; or (3) such conduct has the purpose or
effect of unreasonably interfering with an individual’s work or academic performance or
creating an intimidating or hostile academic or work environment. Sexual harassment
may be found in a single episode, as well as in persistent behavior. Conduct that occurs
in the process of application for admission to a department or selection for employment
is covered by this policy, as well as conduct directed toward University students, faculty,
or staff members.
In situations concerning alleged sexual harassment, the student should see his or her
department chair and/or the Title
IX coordinator, Victoria Nolan, to obtain a copy of
the University grievance procedure for complaints of sexual harassment.
Any grievance that cannot be resolved through the department chair, or the Title
IX
coordinator, may be brought to the dean of Yale School of Drama.
Yale School of Drama’s Procedure for Student Complaints
Yale School of Drama’s procedure for student complaints governs cases in which a stu-
dent has a complaint, including but not limited to a complaint of discrimination on the
basis of race, sex, color, religion, national or ethnic origin, sexual orientation, or handi-
cap, against a member of the faculty or administration of the School of Drama, as well as
complaints that involve misapplication of School of Drama policy.
Such complaints are reviewed by the Dean’s Advisory Committee on Student Griev-
ances, which is appointed ad hoc and is composed of five members including at least two
members of the faculty and one student.
L
iving at Yale School of Drama
27
Living at Yale University
a global university
In celebrating the Yale Tercentennial in 2001, President Richard C. Levin gave special
weight to “Yale’s intention to become a truly global institution” by building on existing
relationships and international activity. Since that time, the University has made great
strides to intensify and broaden its efforts in the international arena. Exchanges of stu-
dents, faculty, researchers, and fellows have grown significantly. Programs of study and
research across the University increasingly incorporate international subject matter. To
enhance all its initiatives in this direction, the administration has created a number of
organizations and other specialized resources.
The most recently established organizational unit, inaugurated in 2003–2004, is the
Office of International Affairs, which serves as an administrative resource to support the
international activities of all schools, departments, offices, centers, and organizations at
Yale; to promote Yale and its faculty to international audiences; and to increase the visi-
bility of Yale’s international activities around the globe. Web site: www.yale.edu/oia.
The Office of International Affairs joins a range of other institutional resources,
including:
The MacMillan Center for International and Area Studies, the University’s principal
agency for encouraging and coordinating teaching and research on international affairs,
societies, and cultures; www.yale.edu/macmillan.
Yale Center for the Study of Globalization, which draws on the rich intellectual resources
of the Yale community, scholars from other universities, and experts from around the
world to support teaching and research on the many facets of globalization, while help-
ing to enrich debate through workshops, conferences, and public programs; www.ycsg.
yale.edu.
Office of International Students and Scholars (OISS); www.oiss.yale.edu. See the descrip-
tion on pages 29–30.
Yale World Fellows Program, which hosts twelve to eighteen Fellows from outside the
U.S. each year for a term of concentrated study and close contact on the Yale campus;
www.yale.edu/worldfellows.
For additional information: “Yale and the World” is a compilation, on the Yale Web
site, of resources for international students, scholars, and other Yale affiliates interested
in the University’s global initiatives: http://world.yale.edu.
cultural oppor
tunities
Two sources of information about the broad range of events at the University are the
Yale Bulletin & Calendar (YB&C), a newspaper printed weekly during the academic year,
and the
Yale Calendar of Events, an interactive calendar that can be found online at
http://events.yale.edu/opa.The
YB&C, which also features news about Y
ale people and
programs, is available without charge at many locations throughout the campus and is
sent via U.S. mail to subscribers; for more information, call 203.432.1316. The paper is
also available online at www.yale.edu/opa/yb&c.
Yale School of Drama electronically publishes a weekly newsletter,
The Prompter, that
lists all School of Drama and Yale Repertory Theatre productions and projects
as well as events, films, lectures, and the like, of relevance to the School of Drama com-
munity.
The Yale Peabody Museum of Natural History contains collections in anthropology,
mineralogy, oceanography, paleontology, and some aspects of geology.
The Yale University Art Gallery is known worldwide for its collections of American
art, the Jarves Collection of early Italian paintings, the finds excavated at the ancient
Roman city of Dura-Europos, the Société Anonyme Collection of early-twentieth-cen-
tury European and American art, and most recently the Charles B. Benenson Collection
of African art. The Gallery is celebrating the fiftieth anniversary of the opening of the
Louis I. Kahn building with a complete renovation, reopening in late 2006. Gallery pro-
gramming remains active, with permanent and collection exhibitions in the Egerton
Swartwout building.
The Yale Center for British Art houses an extraordinary collection of British paint-
ings, sculpture, drawings, and books given to the University by the late Paul Mellon, Yale
Class of 1929.
There are more than eighty endowed lecture series held at Yale each year on subjects
ranging from anatomy to theology, and including virtually all disciplines.
More than four hundred musical events take place at the University during the aca-
demic year. These include concerts presented by students and faculty of the School of
Music, the Department of Music, the Yale Concert and Jazz bands, the Yale Glee Club,
the Yale Symphony Orchestra, and other undergraduate singing and instrumental
groups. In addition to graduate recitals and ensemble performances, the School of Music
features the Philharmonia Orchestra of Yale, the Chamber Music Society at Yale, the
Duke Ellington Series, the Horowitz Piano Series, New Music New Haven, Yale Opera
performances and public master classes, and the Faculty Artist Series. The Institute of
Sacred Music sponsors Great Organ Music at Yale, the Yale Camerata, the Yale Schola
Cantorum, and numerous special events.
For theatergoers, Yale and New Haven offer a wide range of dramatic productions at
the University Theatre, Yale Repertory Theatre, Yale Cabaret, Long Wharf Theatre,
Palace Theater, and Shubert Performing Arts Center.
office of interna
tional students and scholars
The Office of International Students and Scholars (OISS) coordinates services and sup
-
port to Y
ale’s international students, faculty, staff, and their dependents.
OISS assists
members of the Yale international community with all matters of special concern to them
and serves as a source of referral to other university offices and departments.
OISS staff
provide assistance with employment, immigration, personal and cultural adjustment,
and family and financial matters, as well as serve as a source of general information about
L
iving at Yale University
29
living at Yale and in New Haven. In addition, as Yale University’s representative for
immigration concerns,
OISS provides information and assistance to students, staff, and
faculty on how to obtain and maintain legal status in the United States, issues the visa
documents needed to request entry into the
U.S. under Yale’s immigration sponsorship,
and processes requests for extensions of authorized periods of stay, school transfers, and
employment authorization. All international students and scholars must register with
OISS as soon as they arrive at Yale, at which time OISS will provide information about
orientation activities for newly arrived students, scholars, and family members.
OISS
programs, like the monthly international coffee hours, daily English conversation
groups,
U.S. culture workshops, and receptions for newly arrived graduate students,
postdocs, and visiting scholars, provide an opportunity to meet members of Yale’s inter-
national community and become acquainted with the many resources of Yale University
and New Haven.
OISS maintains an extensive Web site (www.oiss.yale.edu) with useful information for
students and scholars prior to and upon arrival in New Haven. As
U.S. immigration reg-
ulations are complex and change rather frequently, we urge international students and
scholars to visit the office and check the Web site for the most recent updates.
International students, scholars, and their families and partners can connect with
OISS and the international community at Yale by subscribing to the following e-mail
lists.
OISS-L is the OISS electronic newsletter for Yale’s international community.
YaleInternational E-Group is an interactive list through which over 3,000 international
students and scholars connect to find roommates, rent apartments, sell cars and house-
hold goods, find companions, and keep each other informed about events in the area.
Spouses and partners of international students and scholars will want to get involved with
the organization called International Spouses and Partners at Yale (
ISPY), which orga-
nizes a variety of programs for the spouse and partner community. The
ISPY E-Group is
an interactive list of over 300 members to connect spouses, partners, and families at Yale.
To subscribe to any list, send a message to oiss
@
yale.edu.
Housed in the International Center for Yale Students and Scholars at 421 Temple
Street, the Office of International Students and Scholars is open Monday through Friday
from 8.30 a.m. to 5 p.m., except Tuesday, when the office is open from 10 a.m. to 5 p.m.
international center for yale students and
scholars
The International Center for Yale Students and Scholars, located at 421 Temple Street,
across the street from Helen Hadley Hall, offers a central location for programs that
both support the international community and promote cross-cultural understanding on
campus. The center, home to
OISS, provides a welcoming venue for students and schol-
ars who want to peruse resource materials, check their e-mail, and meet up with a friend
or colleague. Open until 9
p.m. on weekdays, the center also provides office and meeting
space for student groups, and a space for events organized by both student groups and
University departments. In addition, the center has nine library carrels that can be
30 S
chool of Drama
reserved by academic departments for short-term international visitors. For more infor-
mation about the International Center, call 432.2305 or visit the center at 421 Temple
Street.
health services for yale school of drama students
Yale University Health Services (YUHS) is located on campus at 17 Hillhouse Avenue.
YUHS offers a wide variety of health care services for students and other members of the
Yale community. Services include student medicine, gynecology, mental health, pedi-
atrics, pharmacy, laboratory, radiology, a twenty-three-bed inpatient care facility (
ICF),
a round-the-clock urgent care clinic, and such specialty services as allergy, dermatology,
orthopedics, and a travel clinic.
YUHS also includes the Yale Health Plan (YHP), a health
coverage option that coordinates and provides payment for the services outlined above,
as well as for emergency treatment, off-site specialty services, inpatient hospital care, and
other ancillary services. YUHS’s services are detailed in the YHP Student Handbook, avail-
able through the
YHP Member Services Department, 203.432.0246, or on the YHP Web
site at www.yale.edu/uhs.
Eligibility for Services
All full-time Yale degree-candidate students who are paying at least half tuition are
enrolled automatically for
YHP Basic Coverage. YHP Basic Coverage is offered at no
charge and includes preventive health and medical services in the departments of Stu-
dent Medicine,Internal Medicine, Gynecology, Health Education, and Mental Hygiene.
In addition, treatment for urgent medical problems can be obtained twenty-four hours a
day through Urgent Care.
Students on leave of absence or on extended study and paying less than half tuition
are not eligible for
YHP Basic Coverage but may enroll in YHP Student Affiliate Cover-
age. Students enrolled in the Division of Special Registration as nondegree special stu-
dents or visiting scholars are not eligible for
YHP Basic Coverage but may enroll in the
YHP Billed Associates Plan and pay a monthly premium. Associates must register for a
minimum of one term within the first thirty days of affiliation with the University.
Students not eligible for
YHP Basic Coverage may also use the services on a fee-for-
service basis. Students who wish to be seen fee-for-service must register with the
YHP
Member Services Department. Enrollment applications for the YHP Student Affiliate
Coverage, Billed Associates Plan, or Fee-for-Service Program are available from the
YHP Member Services Department.
All students are welcome to use specialty and ancillary services at
YUHS. Upon refer-
ral,
YHP will cover the cost of these services if the student is a member of YHP Hospi-
talization/Specialty Coverage (see below). If the student has an alternate insurance plan,
YHP will assist in submitting the claims for specialty and ancillary services to the other
plan and will bill through the Office of Student Financial Services for noncovered
charges and services.
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Health Coverage Enrollment
The University also requires all students eligible for YHP Basic Coverage to have ade-
quate hospital insurance coverage. Students may choose
YHP Hospitalization/Specialty
Coverage or elect to waive the plan if they have other hospitalization coverage, such as
coverage through a spouse or parent. The waiver must be renewed annually, and it is the
student’s responsibility to confirm receipt of the waiver form by the University’s dead-
lines noted below.
yhp hospitalization
/
specialty coverage
For a detailed explanation of this plan, see the YHP Student Handbook, which is available
online at www.yale.edu/uhs/for_students/student_hb/studenthb.pdf.
Students are automatically enrolled and charged a fee each term on their Student
Financial Services bill for YHP Hospitalization/Specialty Coverage. Students with no
break in coverage who are enrolled during both the fall and spring terms are billed each
term and are covered from September 1 through August 31. For students entering Yale
for the first time, readmitted students, and students returning from a leave of absence
who have not been covered during their leave,
YHP Hospitalization/Specialty Coverage
begins on the day the dormitories officially open. A student who is enrolled for the fall
term only is covered for services through January 31; a student enrolled for the spring
term only is covered for services through August 31.
Waiving the YHP Hospitalization/Specialty Coverage: Students are permitted to waive YHP
Hospitalization/Specialty Coverage by completing a waiver form that demonstrates
proof of alternate coverage. Waiver forms are available from the
YHP Member Services
Department. It is the student’s responsibility to report any changes in alternate insurance
coverage to the
YHP Member Services Department. Students are encouraged to review
their present coverage and compare its benefits to those available under the
YHP. The
waiver form must be filed annually and must be received by September 15 for the full year
or fall term or by January 31 for the spring term only.
Revoking the Waiver: Students who waive YHP Hospitalization/Specialty Coverage but
later wish to be covered must complete and send a form voiding their waiver to the
YHP
Member Services Department by September 15 for the full year or fall term, or by Janu-
ary 31 for the spring term only. Students who wish to revoke their waiver during the term
may do so, provided they show proof of loss of the alternate insurance plan and enroll
within thirty days of the loss of this coverage. YHP premiums will not be prorated.
yhp student two-person and family plans
A student may enroll his or her lawfully married spouse or same-gender domestic part
-
ner and/or legally dependent child(ren) under the age of nineteen in one of two student
dependent plans: the T
wo-Person Plan or the Student Family Plan. These plans include
services described in both the
YHP Basic Coverage and the YHP Hospitalization/Spe
-
cialty Coverage.
YHP Prescription Plus Coverage may be added at an additional cost.
Coverage is not automatic and enrollment is by application. Applications are available
32 S
chool of Drama
from the YHP Member Services Department or can be downloaded from the YUHS
Web site (www.yale.edu/uhs) and must be renewed annually. Applications must be
received by September 15 for full-year or fall-term coverage, or by January 31 for spring-
term coverage only.
yhp student affiliate coverage
Students on leave of absence or extended study or students paying less than half tuition
may enroll in
YHP Student Affiliate Coverage, which includes services described in both
the
YHP Basic and the YHP Hospitalization/Specialty Coverage. Prescription Plus Cov-
erage may also be added for an additional cost. Applications are available from the
YHP
Member Services Department or can be downloaded from the YUHS Web site
(www.yale.edu/uhs) and must be received by September 15 for full-year or fall-term cov-
erage, or by January 31 for spring-term coverage only.
yhp prescription plus coverage
This plan has been designed for Yale students who purchase YHP Hospitalization/Spe-
cialty Coverage and student dependents who are enrolled in either the Two-Person Plan,
the Student Family Plan, or Student Affiliate Coverage.
YHP Prescription Plus Cover-
age provides protection for some types of medical expenses not covered under
YHP Hos-
pitalization/Specialty Coverage. Students are billed for this plan and may waive this cov-
erage. The waiver form must be filed annually and must be received by September 15 for
the full year or fall term or by January 31 for the spring term only. For a detailed expla-
nation, please refer to the
YHP Student Handbook.
Eligibility Changes
Withdrawal: A student who withdraws from the University during the first ten days of the
term will be refunded the premium paid for
YHP Hospitalization/Specialty Coverage
and/or
YHP Prescription Plus Coverage. The student will not be eligible for any YHP
benefits, and the student’s YHP membership will be terminated retroactive to the begin-
ning of the term. The medical record will be reviewed, and any services rendered and/or
claims paid will be billed to the student on a fee-for-service basis. At all other times, a stu-
dent who withdraws from the University will be covered by YHP for thirty days follow-
ing the date of withdrawal or to the last day of the term, whichever comes first. Premi-
ums will not be prorated or refunded. Students who withdraw are not eligible to enroll
in YHP Student Affiliate Coverage.
Leaves of Absence: Students who are granted leaves of absence are eligible to purchase
YHP Student Affiliate Coverage during the term(s) of the leave. If the leave occurs
during the term,
YHP Hospitalization/Specialty Coverage will end on the date the leave
is granted and students may enroll in
YHP Student Affiliate Coverage. Students must
enroll in Affiliate Coverage prior to the beginning of the term during which the leave is
taken or within thirty days of the start of the leave. Premiums paid for
YHP Hospitaliza-
tion/Specialty Coverage will be applied toward the cost of Affiliate Coverage. Coverage
is not automatic and enrollment forms are available at the
YHP Member Services
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iving at Yale University
33
Department or can be downloaded from the YUHS Web site (www.yale.edu/uhs). Pre-
miums will not be prorated or refunded.
Extended Study or Reduced Tuition: Students who are granted extended study status or pay
less than half tuition are not eligible for
YHP Hospitalization/Specialty Coverage and
YHP Prescription Plus Coverage. They may purchase YHP Student Affiliate Coverage
during the term(s) of extended study. This plan includes services described in both the
YHP Basic and the YHP Hospitalization/Specialty Coverage. Coverage is not automatic
and enrollment forms are available at the
YHP Member Services Department or can be
downloaded from the
YUHS Web site (www.yale.edu/uhs). Students must complete an
enrollment application for the plan prior to September 15 for the full year or fall term, or
by January 31 for the spring term only.
For a full description of the services and benefits provided by
YHP, please refer to
the
YHP Student Handbook, available from the YHP Member Services Department,
203.432.0246, 17 Hillhouse Avenue,
PO Box 208237, New Haven ct 06520-8237.
Required Immunizations
Measles (Rubeola) and German Measles: All students who were born after December 31,
1956, are required to provide proof of immunization against measles (rubeola) and
German measles (rubella). Connecticut state law requires two doses of measles vaccine.
The first dose must have been given after January 1, 1969,
and after the student’s first
birthday. The second dose must have been given after January 1, 1980. These doses must
be at least 30 days apart. Connecticut state law requires proof of one dose of rubella vac-
cine administered after January 1, 1969,
and after the student’s first birthday. The law
applies to all students unless they present (a) a certificate from a physician stating that
such immunization is contraindicated, (b) a statement that such immunization would be
contrary to the student’s religious beliefs, or (c) documentation of a positive blood titer
for measles and rubella.
Meningococcus (Meningitis): All students living in on-campus housing must be vaccinated
against Meningococcal disease. The law went into effect in September 2002, meaning
that all returning students who plan to live in University housing must be immunized or
show proof of immunization within the last five years. Students who are not compliant
with this law will not be permitted to register for classes or move into the dormitories for
the fall term, 2005. Please note that the State of Connecticut does not require this vac-
cine for students who intend to reside off campus.
Note: Students who have not met these requirements prior to arrival at Yale University
must receive the immunizations from
YHP and will be charged accordingly.
resource office on disabilities
The Resource Office on Disabilities facilitates accommodations for undergraduate and
graduate and professional school students with disabilities who register with and have
34 S
chool of Drama
appropriate documentation on file in the Resource Office. Early planning is critical.
Documentation may be submitted to the Resource Office even though a specific accom-
modation request is not anticipated at the time of registration. It is recommended that
matriculating students in need of disability-related accommodations at Yale University
contact the Resource Office by June 30. Special requests for University housing need to
be made in the housing application. Returning students must contact the Resource
Office at the beginning of each term to arrange for course and exam accommodations.
The Resource Office also provides assistance to students with temporary disabilities.
General informational inquiries are welcome from students and members of the Yale
community and from the public. The mailing address is Resource Office on Disabilities,
Yale University,
PO Box 208305, New Haven ct 06520-8305. The Resource Office is
located in William L. Harkness Hall (
WLH), Rooms 102 and 103. Access to the Resource
Office is through the Cross Campus entrance to
WLH. Office hours are Monday
through Friday, 8.30
a.m. to 4.30 p.m. Voice callers may reach staff at 203.432.2324;
TTY/TDD callers at 203.432.8250. The Resource Office may also be reached by e-mail
(judith.york
@
yale.edu) or through its Web site (www.yale.edu/rod).
religious life at yale
The religious resources of Yale University serve all students, faculty, and staff. These
resources are the University Chaplaincy (located on the lower level of Bingham Hall on
Old Campus); the Church of Christ in Yale University, an open and affirming church;
and Yale Religious Ministry, the on-campus association of clergy and nonordained
representatives of various religious faiths. The ministry includes the Chapel of St.
Thomas More, the parish church for all Roman Catholic students at the University; the
Joseph Slifka Center for Jewish Life at Yale, a religious and cultural center for students
of the Jewish faith; Indigo Blue: A Center for Buddhist Life at Yale; several Protestant
denominational ministries and nondenominational ministries; and student religious
groups such as the Baha’i Association, the Yale Hindu Council, and the Muslim Student
Association. Additional information is available at www.yale. edu/chaplain.
athletic facilities
The Payne Whitney Gymnasium is one of the most elaborate and extensive indoor ath-
letic facilities in the world. This complex includes the 3,100-seat John J. Lee Amphithe-
ater, the site for many indoor varsity sports contests; the Robert J. H. Kiphuth Exhibi-
tion Pool; the Brady Squash Center, a world-class facility with fifteen international-style
courts; the Adrian C. Israel Fitness Center, a state-of-the-art exercise and weight-train-
ing complex; the Brooks-Dwyer Varsity Strength and Conditioning Center; the Colonel
William K. Lanman, Jr. Center, a 30,ooo-square-foot space for recreational/ intramural
play and varsity team practice; the Greenberg Brothers Track, an eighth-mile indoor
jogging track; and other rooms devoted to fencing, gymnastics, rowing, wrestling, mar-
tial arts, general exercise, and dance. Numerous physical education classes in dance
(ballet, jazz, modern, and ballroom), martial arts, yoga and pilates, aerobic exercise, and
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sport skills are offered throughout the year. Yale undergraduates and graduate and pro-
fessional school students may use the gym at no charge throughout the year. Academic
and summer memberships at reasonable fees are available for faculty, employees, post-
doctoral and visiting fellows, alumni, and student spouses.
The David S. Ingalls Rink, the Sailing Center in Branford, the Yale Outdoor Educa-
tion Center (East Lyme, Connecticut), the Yale Tennis Complex, the Yale Polo and
Equestrian Center, and the Golf Course at Yale are open to faculty, students, employees,
students’ spouses, and guests of the University at established fees. Up-to-date informa-
tion on hours and fees at all these recreational facilities can be obtained from the Sport
and Recreation Office (203.432.1431). Please check the Yale Athletics Web site (http://
yalebulldogs.collegesports.com) for more information concerning any of these recre-
ational facilities and programs.
Approximately forty-five club sports and outdoor activities come under the jurisdic-
tion of the Office of Outdoor Education and Club Sports. Many of these activities are
open to graduate and professional school students. Yale faculty, staff, and alumni, and
nonaffiliated groups may use the Yale Outdoor Education Center (OEC). The center
consists of two thousand acres in East Lyme, Connecticut, and includes overnight cabins
and campsites, a pavilion and dining hall, and a waterfront area with a supervised swim-
ming area, rowboats, canoes, and kayaks. Adjacent to the lake, a shaded picnic grove and
gazebo are available to visitors. In another area of the property, hiking trails surround a
wildlife marsh. The
OEC season extends from the third weekend in June through Labor
Day and September weekends.For more information,telephone 203.432.2492 or visit the
Web page at http://yalebulldogs.collegesports.com (click on Sports Rec, then on Out-
door Education).
Throughout the year, Yale University graduate and professional school students have
the opportunity to participate in numerous intramural sports activities. These seasonal,
team-oriented activities include volleyball, soccer, and softball in the fall; basketball
and volleyball in the winter; softball, soccer, and volleyball in the spring; and softball in
the summer. With few exceptions, all academic-year graduate-professional student
sports activities are scheduled on weekends, and most sports activities are open to com-
petitive, recreational, and coeducational teams. More information is available from the
Intramurals Office in Payne Whitney Gymnasium, 203.432.2487, or online at http://
yalebulldogs.collegesports.com.
36 S
chool of Drama
Departmental Requirements
and Courses of Instruction
acting (m.f.a. and certificate)
Ron Van Lieu, Chair
The Acting department admits talented and committed individuals who possess an active
intelligence, a strong imagination, and a physical and vocal instrument capable of devel-
opment, and prepares them for work as professional actors. The program of study com-
bines in-depth classroom training with extensive production work. At the conclusion of
their training, individuals will be prepared to work on a wide range of material and in a
variety of venues.
The first year is a highly disciplined period of training. The first production oppor-
tunity comes at the end of the first term with the presentation of collaboratively created
projects adapted from source material assigned by the faculty (Drama 50a). At the begin-
ning of the second term, there is a first-year project designed to exercise the skills being
developed in class, directed by a visiting professional director. After the first-year project,
students in good standing enter the casting pool for Yale School of Drama productions.
The year begins with a concentration on realism, and at the beginning of the second
term, actors are introduced to text work. Students who have demonstrated and devel-
oped their talent during the year will be invited by the faculty to return for a second year
of training.
Second-year work expands the focus into verse drama, with emphasis on understand-
ing and performing the works of Shakespeare. Students strengthen their skills and attain
a higher level of ensemble work through their classes and through increasing production
assignments. In the second term of the second year, the work shifts to other writers such
as Molière, George Bernard Shaw, Oscar Wilde, etc. The third year is spent exploring
the varied material of contemporary theater.
Yale School of Drama production opportunities include work in a diverse season of
directors’ thesis productions, verse plays, and new plays by student playwrights. All cast-
ing is assigned by the chair of the Acting department (pending approval by the dean)
based on the developmental needs of each student and on the needs of the project as
articulated by its director. Actors should take note of the casting policy as further stated
on page 21 under departmental assignments. During the school year, acting in projects
outside the School of Drama is discouraged, and permission to do so is rarely given.
Yale Repertory Theatre serves as an advanced training center for the department. All
acting students work at Yale Rep as understudies, observing and working alongside pro-
fessional actors and directors. Many have the opportunity to appear in roles during the
season, depending upon their appropriateness to the parts available. Through work at
Yale Repertory Theatre, those students who are not members of Actors’ Equity will
attain membership upon graduation.
Yale Cabaret provides an additional, although strictly extracurricular, outlet for the
exploration of a wide range of material: serious, absurdist, improvisational, and musical.
Plan of Study: Acting
Students are required to attend all classes in their curriculum.
required sequence
Year Course Subject
I DRAM 6a/b Survey of Theater and Drama
DRAM 50a The Collaborative Process
DRAM 103a/b Acting I
DRAM 113a/b Voice I
DRAM 123a/b Speech I
DRAM 133a/b Movement I
DRAM 143b Alexander Technique I
DRAM 153a In-Play
DRAM 163b Text Analysis I
DRAM 173b Singing I
DRAM 403a/b Stage Combat I
II DRAM 163a Text Analysis II
DRAM 203a/b Acting II
DRAM 213a/b Voice II
DRAM 223a/b Speech II
DRAM 233a/b Movement II
DRAM 243a/b Alexander Technique II
DRAM 253b Clown
DRAM 405a/b Stage Combat II
DRAM 413a/b Singing II
DRAM 443b Mask
III
DRAM 303a/b Acting III
DRAM 313a/b Voice III
DRAM 323a/b Speech III
DRAM 333a/b Movement III
DRAM 343a/b Alexander Technique III
DRAM 423a/b Singing III
DRAM 433a Acting for Camera
DRAM 433b Audition and Professional Preparation
DRAM 453a Commedia
38 S
chool of Drama
Courses of Instruction
DRAM 6a/b, Survey of Theater and Drama. See description under Dramaturgy and
Dramatic Criticism.
D
RAM
5oa, The Collaborative Process. See description under Directing.
DRAM 1o3a/b, Acting I. Scene study in the first year begins with a concentration on the
works of American writers such as Tennessee Williams, Eugene O’Neill, August Wilson,
Suzan Lori-Parks, Tony Kushner, and others. In the second term the concentration shifts
to the realistic works of Chekhov and Ibsen. Through rigorous attention to the text, stu-
dents learn to identify and personalize a character’s driving need (objective) and to
engage themselves (voice, body, mind, and spirit) in its active pursuit, informed by char-
acter-specific listening. Ron Van Lieu.
DRAM 113a/b, Voice I. Voice training is structured as a progression of exercises/expe-
riences designed to liberate the individual’s natural voice from habitual psychophysical
tensions, to connect breath and sound to image and emotion, to develop the potential for
expression and the appetite for language, and to promote vocal ease, clarity, power, sta-
mina, range, and sensitivity to impulse. Walton Wilson.
DRAM 123a/b, Speech I. Speech training seeks to broaden the actor’s range of vocal and
imaginative expression and to deepen the actor’s sensory relationship to language. The
exploration of phonetics encourages flexibility, specificity, and variety. The approach is
actively rooted in the whole body; for example, the International Phonetic Alphabet is
acquired in conjunction with physical work so that the sounds become kinesthetically
linked to the body, rather than only to the articulating surfaces of the mouth. Dialects are
explored as a transformational acting tool in connection with dramatic texts. In the third
year, commercial voice-over techniques are introduced and individual recordings are
created with the assistance of Sound Design students. Pamela Prather.
DRAM 133a/b, Movement I. The goal of Yale School of Drama’s movement training is
to develop actors with strong, centered bodies; to awaken their physical expressiveness;
and to enhance their ability to create bold physical characterizations. Stephen Beuscher,
Brendan McCall, Ronni Stewart.
DRAM 143b,Alexander Technique I. Offered in all three years through class work and
private tutorials, this work develops the actor’s kinesthetic awareness, fosters balance and
alignment, and, through breath work, promotes the connection between voice and body.
Gwen Ellison, Jessica Wolf.
DRAM 153a, In-Play. This course encourages the actor’s imagination, threads impulse
through the voice and body, promotes spontaneity, and prepares the actor to make bold
physical choices in production. Jane Nichols.
DRAM 163a,Text Analysis II. This course seeks to provide students with tools to mine
the printed text for given circumstances, character, objective, and action, noting the
Acting 39
opportunities and limitations that the printed play script presents, as well as the respon-
sibility of the actor as an interpretive artist. James Bundy.
DRAM 163b, Text Analysis I. See description under DRAM 163a.
DRAM 173b, Singing I. Through classes and tutorials in all three years, this work devel-
ops actors’ singing voices, gives them experience in acting sung material, and contributes
to the overall development of their vocal instruments. Each year culminates in a perfor-
mance of songs for the Yale School of Drama community. Vicki Shaghoian.
DRAM 2o3a/b Acting II. Second-year work expands the focus on verse drama, with
continued emphasis on understanding and performing the works of Shakespeare. Proj-
ects are designed to allow each student to perform in a play by Shakespeare. In the second
term the focus switches to an emphasis on heightened and extended language through
contact with writers such as Molière, Shaw, Wilde, and so on. Text work continues. Peter
Francis James, Evan Yionoulis.
DRAM 213a/b, Voice II. See description under DRAM 113a/b. Walton Wilson.
DRAM 223a/b, Speech II. See description under DRAM 123a/b. Beth McGuire.
DRAM 233a/b, Movement II. See description under DRAM 133a/b.
DRAM 243a/b, Alexander Technique II. See description under DRAM 143a/b.
DRAM 253b, Clown. This course encourages the actor’s imagination, threads impulse
through the voice and body, promotes spontaneity, and prepares the actor to make bold
physical choices in production. Christopher Bayes.
DRAM 3o3a/b, Acting III. Scene study begins with the study of Brecht and different
approaches to action. Students tackle modern and contemporary material to discover
how technique is adapted to the requirements of varying texts. Ron Van Lieu, Evan
Yionoulis.
DRAM 313a/b, Voice III. See description under DRAM 113a/b. Walton Wilson, Grace
Zandarski.
DRAM 323a/b, Speech III. See description under DRAM 123a/b. Beth McGuire.
DRAM 333a/b, Movement III. See description under DRAM 133a/b. Brendan McCall
DRAM 343a/b, Alexander Technique III. See description under DRAM 143a/b.
DRAM 4o3a/b, Stage Combat I. Unarmed combat in the first year prepares the actor
to execute stage violence effectively and safely. Skills of concentration, partner-aware-
ness, and impulse-response are also fostered in this work. Rick Sordelet.
DRAM 4o5a/b, Stage Combat II. Armed combat in the second year prepares the actor
to execute stage violence effectively and safely. Skills of concentration, partner-aware-
ness, and impulse-response are also fostered in this work. Rick Sordelet.
40 S
chool of Drama
DRAM 413a/b, Singing II. See description under DRAM 173b.
DRAM 423a/b, Singing III. See description under DRAM 173b.
DRAM 433a, Acting for Camera. In this workshop, third-year students become com-
fortable in front of the camera, learning how to transfer the work they do to the medium
of film. On-camera audition techniques are taught. Ellen Novack.
DRAM 433b, Audition and Professional Preparation. Through practice auditions of
varied material and visits from industry professionals (working actors, agents, casting
agents, and directors), third-year actors acquire the information and skills they need to
make the transition into the professional world. In their final term, students choose and
rehearse scenes which are presented to agents, casting agents, and producers in New
York and Los Angeles. Ellen Novack, Ron Van Lieu.
DRAM 443b, Mask. This course encourages the actor’s imagination, threads impulse
through the voice and body, promotes spontaneity, and prepares the actor to make bold
physical choices in production. Per Brahe.
DRAM 453a, Commedia. This course explores the classical archetypes of the commedia
dell’arte.
It makes use of mask, physical articulation, sound, and rhythm to develop the
transformational power of the actors. When the mask is alive and impulses begin to
travel with abandon through the physical psychology of the body, the student begins to
understand the actor/audience relationship in all its ferocious beauty. The work is pri-
marily improvisational with the actor/creator at the center of the theatrical conversation.
Christopher Bayes.
design (m.f.a. and certificate)
Ming Cho Lee, Stephen Strawbridge, Co-Chairs
The purpose of the Design department is to develop theater artists who are masterful
designers in set, costume, lighting, and sound for the theater. The department encour-
ages students to discover their own process of formulating design ideas, to develop a dis-
criminating standard for their own endeavors, and above all to prepare for a creative and
meaningful professional life in the broad range of theater activities.
In the belief that theater is a collaborative art, it is hoped that through their Yale
School of Drama experience design students discover a true sense of joy in working with
other people, especially directors, and realize the excitement of evolving a production
through the process of collaboration.
Finally, the department endeavors to create an atmosphere conducive to creative
experimentation, tempered by honest, open criticism and disciplined study.
Theater is an act of transformation, and for designers it is the transformation of words
into visual and musical imagery. Set, costume, and, to a certain extent, lighting designers
must have the capacity for visual expression, with its foundation set firmly in the ability
to draw and sketch clearly and expressively. Drawing is not merely a technique for
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presentation; it is the language that reveals one’s thoughts, and thus creates a dialogue
among the director, the designers, and their colleagues. Through drawing, one observes
and records one’s world. Drawing informs and clarifies one’s vision and is an integral
part of the formulation of a design. Drawing should be as natural to the visual designer
as speaking; therefore, to keep their drawing skills honed, all set, costume, and
lighting design students are required to take a weekly life drawing class offered by the
department.
Students are admitted to the program on the basis of their artistic abilities as shown
in their portfolios, as well as their commitment to the theater and their ability to articu-
late their ideas.
Each entering class is unique, with the ratio of set to costume to lighting designers
varying according to the qualifications of the applicants. Approximately ten students are
admitted each year. With two full-time teachers in each design discipline, there is a high
faculty to student ratio. The Design department faculty make a strong, personal com-
mitment to each student that is accepted. There is no second-tier status. All students par-
ticipate at the same level and are expected to complete the program of study.
The student’s training is accomplished through approximately equal parts classroom
work and production experience. It is understood that, with certain exceptions, students
of visual design will study scenic, costume, and lighting design in all three years. The cul-
mination of this training is the Master Class in Design, taken by all visual design students
in the third year, in which a number of unified projects and a thesis are presented to the
combined faculty in the course of two terms.
It is recognized that some students are stronger in some areas than they are in others
and allowance is made for this fact in production assignments. For the first year, and to a
limited extent in the second year, students are assigned to assist a designer without regard
to such strengths. When assignments are made as principal designer of one aspect of a
production, chiefly in the second and third years, such an assignment usually reflects the
student’s strengths and career expectations.
Sound design students who are admitted into the Design department are also
required to take introductory visual design classes in an attempt to develop a common
body of knowledge within the entire design team, and to provide opportunities for all
designers to develop collaborative communication and presentation skills.
Plan of Study: Design
required sequence
Year Course Subject
I DRAM 112a/b Scene Design: Background and Practice
DRAM 115a/b Costume Design: Background and Practice
DRAM 122a/b Stagecraft for Designers
DRAM 124a/b Introduction to Lighting Design
(non-lighting designers)
DRAM 125a/b History of Costume and Costume Construction
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DRAM 134a/b Advanced Problems in Stage Lighting
(lighting designers only)
DRAM 158a Introduction to Sound Design
(lighting designers only)
DRAM 162a/b Design Studio
DRAM 172a Digital Imaging for Scenic Designers
DRAM 189a Costume Production (set and costume only)
DRAM 224a/b Introduction to Projection and Video Design
DRAM 289b Patternmaking (costume designers only)
Assignments as Assistant Designer
II
DRAM 6a/b Survey of Theater and Drama
DRAM 89a Costume Construction (costume designers only)
DRAM 132a/b Advanced Problems in Scene Design
DRAM 134a/b Advanced Problems in Stage Lighting
(non-lighting designers)
DRAM 135a/b Advanced Problems in Costume Design
(set and costume designers only)
DRAM 152a/b Scene Painting
DRAM 158a Introduction to Sound Design
(set and costume designers only)
DRAM 162a/b Design Studio
DRAM 164a/b Professional Stage Lighting Design
(lighting designers only)
Design assignments for School of Drama productions
Note: The student may, with faculty approval, elect not to take one of the
following:
DRAM 132a/b, 134a/b, or 135a/b.
III
DRAM 142a/b
DRAM 145a/b
}
Master Class in Design
DRAM 154a/b
DRAM 162a/b Design Studio
DRAM 174a/b Advanced Professional Stage Lighting Design
(lighting designers only)
One two-term elective
Design assignments for School of Drama productions and
possible design assignments for Yale Repertory Theatre
Thesis Project: a comprehensive design project incorporating
scenery, costumes, and lighting for a production
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Courses of Instruction
DRAM 6a/b, Survey of Theater and Drama. See description under Dramaturgy and
Dramatic Criticism.
DRAM 89a, Costume Construction. See description under Technical Design and Pro-
duction. Required for costume designers; elective for all others, with permission of the
instructor.
DRAM 1o2a/b, Scene Design. An introduction for all non-design students to the aes-
thetics and the process of scenic design through critique and discussion of weekly proj-
ects. Emphasis is given to the examination of the text and the action of the play, the
formulation of design ideas, the visual expression of the ideas, and especially the collab-
oration with directors and all other designers. Three hours a week. Ming Cho Lee,
Michael Yeargan.
DRAM 112a/b, Scene Design: Background and Practice. An introductory course for
all designers in conjunction with 102a/b. Ming Cho Lee, Michael Yeargan.
DRAM 115a/b, Costume Design: Background and Practice. A review of the history
of civil costume and a study of the technique and practice of theatrical costume design
leading to the preparation of designs for productions and the carrying out of the designs
in actual costumes for the stage. Criticism of weekly sketch problems. Two hours a week.
Jane Greenwood.
DRAM 122a/b, Stagecraft for Designers. An introductory course for all first-year
designers in drafting, stagecraft, and production techniques. Michael Yeargan.
DRAM 124a/b, Introduction to Lighting Design. An introduction for all non-lighting
design students to the aesthetics and the process of lighting design through weekly cri-
tique and discussion of theoretical and practical assignments. Emphasis is given to the
examination of the action of the play in relation to lighting, the formulation of design
ideas, the place of lighting in the overall production, and collaboration with directors,
set, costume, and sound designers. Stephen Strawbridge.
DRAM 125a/b, History of Costume and Costume Construction. A history of cos-
tume taught through the costume techniques of the period. The course includes lectures
and practical work. Permission of the instructor required. Jane Greenwood.
DRAM 132a/b, Advanced Problems in Scene Design. Criticism of design problems
for plays, musicals, ballet, and opera. This course continues the work started in
DRAM
112, carrying it a step further and focusing on design realization. Prerequisite: DRAM
112a/b. Two hours a week. Ming Cho Lee.
DRAM 134a/b, Advanced Problems in Stage Lighting. A course intended to help the
student develop a sense of, and a facility with, light as an element in a production. Proj
-
ects are prepared consistent with best professional practice. Prerequisites:
DRAM 124a/b
and permission of the instructor. Four hours a week. Jennifer Tipton.
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DRAM 135a/b, Advanced Problems in Costume Design. Detailed practical experi-
ence in the preparation of costumes for the stage, including sketches for projected
designs and plans for their execution. Prerequisites:
DRAM 115a/b and DRAM 125a/b.
Two hours a week. Jess Goldstein.
DRAM 142a/b, 145a/b, 154a/b, Master Class in Design. Class required for third-year
students for the presentation and criticism of all the visual elements that comprise a com-
plete production. Each student presents several complete projects. One or two of these
projects may be designs for a production on the main stage or Yale Repertory Theatre.
Each student must complete a final thesis that includes sketches or models of scenes,
sketches of costumes, lighting design, designer’s drafting, etc. Four hours a week.
Faculty.
DRAM 152a/b, Scene Painting. A studio class in painting techniques. Problems in tex-
tures, materials, styles, to prepare students to execute their own and other designs. Three
hours a week. Ru-Jun Wang.
DRAM 158a, Introduction to Sound Design. Required for first-year lighting and
second-year costume and set designers. See description under Sound Design.
DRAM 162a/b, Design Studio. A course in figure drawing for design students. The
course is taken as training by students in every year. Three hours a week. Ru-Jun Wang.
DRAM 164a/b, Professional Stage Lighting Design. A course to prepare students for
the demanding artistic and practical situations to be faced in the professional theater.
Large-scale and somewhat complex production problems, such as multiset plays, musi-
cal comedies, operas, ballets, and repertory situations may be addressed by students for
presentation and critique. Prerequisite:
DRAM 134a/b and permission of the instructor.
Two hours a week. Jennifer Tipton.
DRAM 172a, Digital Imaging for Scenic Designers. A comprehensive introduction to
2-
D computer graphics as it applies to designing for the theater. Students develop a
working understanding of a digital workflow that includes input (scanning and digital
photography), computer-aided design (Adobe Photoshop
CS2), and output (printing).
The course focuses on the possibilities the computer offers scenic, lighting, and costume
designers in professional practice. Kenneth Lovell.
DRAM 174a/b, Advanced Professional Stage Lighting Design. An independent study
course concurrent with
DRAM 164a/b. Hours to be arranged with the instructor.
Jennifer Tipton.
DRAM 189a, Costume Production. See description under Technical Design and Pro-
duction.
DRAM 189b, Fabric and Fabric Manipulation. See description under T
echnical
Design and Production.
DRAM 212a/b, Independent Study. There may be special circumstances in which a
student is allowed to pursue a particular area of inquiry independently, and on his or her
own time. Faculty supervision and approval is required in formulating the goals and the
methods to be employed and a timetable. Faculty.
DRAM 224a/b, Introduction to Projection and Video Design. An overview of the
history and techniques used to incorporate projected imagery into the theatrical space.
Wendall Harrington.
DRAM 289b, Patternmaking. See description under Technical Design and Production.
DRAM 489a/b, Advanced Patternmaking. See description under Technical Design and
Production.
sound design (m.f.a. and certificate)
David Budries, Chair
The Sound Design concentration offered through the Design department attempts to
exercise and develop the conceptual, compositional, and technical skills of a sound
designer through substantial academic offerings and a set of practical design opportuni-
ties that together provide a solid professional training experience. This rigorous prepa-
ration readies students for a variety of design and engineering jobs related to music and
sound in performance. It is also directly applicable to teaching the art and craft of sound
design.
The Sound Design experience at Yale School of Drama is unique in that the four areas
of design—scenic, costume, light, and sound—are integrated. All designers are required
to take introductory course work in each of the design areas. This introductory course
work provides students with a core of basic knowledge and the ability to exercise good
communication skills through the design process, while helping to build camaraderie
and respect among the designers. This ensemble approach provides a foundation for net-
working as design professionals after graduation. Collaboration is an essential part of the
experience at the School of Drama.
The program is rigorous. Students must be dedicated and willing to work hard. The
course work covers the aesthetics of design, music composition, script interpretation,
critical listening, professional collaboration, sound and music technology, aural imaging
in large spaces, acoustics, investigations into psychoacoustics, digital audio production,
advanced sound delivery systems, advanced problem solving, advanced digital applica-
tions, production organization, and professional development combined with a wide
variety of practical assignments.
The Sound Designers and Directors Workshop is a unique class in which directors and
sound designers focus on communication and exploration of each other’s production
process.
All students attend
Sound Master Classes and Sound Seminars. In these meetings, cur-
rent production work, concepts for design, and current technological developments are
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discussed. Professional artists, designers, and technicians are invited to present and dis-
cuss their work at these sessions.
Besides the classroom work, the core training revolves around practical production
assignments that include working on medium- to large-scale student productions as well
as professional design work at Yale Repertory Theatre. Additionally, Yale Cabaret pro-
vides students with up to twenty extracurricular design opportunities annually. These
hands-on assignments provide invaluable practical learning experiences.
In order to support this work, students have open access to three production studio
spaces. Additionally, students are required to develop their own digital audio work-
stations while they are in school so that upon graduation, students have their personal
studios ready for professional work.
The Sound Design concentration sponsors critiques of current productions. Cri-
tiques are scheduled at the beginning of each term, and all sound designers are required
to attend. All Yale School of Drama students and invited guests are welcome. After view-
ing a production, those attending gather informally to discuss all aspects of the work
including the storytelling, dramaturgy, acting, directing, design, and music.
The Sound Design concentration nurtures individual creativity and exploration. Its
goal is to train professionals who will become leaders in the field of professional theatri-
cal sound design.
Academic Expectation and Professional Practice
Because Yale School of Drama programs of study attempt to balance academics with
practical production work, it is necessary for students to learn how to manage their time
in both activities. This is an essential skill set for design students to acquire or to further
develop. Students are always expected to show up on time and be prepared for classes,
meetings, and production assignments. Any variation from that expectation requires
direct communication and approval from the instructor, supervisor, stage manager, or
other person in charge. Students are expected to be active participants in the production
process, attending all required meetings, actor rehearsals, technical rehearsals, and pre-
views. All sound design students are required to attend focus and system balance sessions
as well as all scheduled production critiques including the “Rep as Master Teacher” series
unless there is a direct production conflict. Again, any variation from that expectation
must be directly communicated to the appropriate supervisor to obtain approval.
Designing for Yale Cabaret
First-year students are not allowed to design at Yale Cabaret in their first term, and in the
second term they need the approval of a faculty adviser. Any student with a course incom-
plete may not design for Yale Cabaret regardless of an advanced commitment. All sound
designers must promptly convey their Yale Cabaret design commitments to their faculty
adviser in writing.
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Plan of Study: Sound Design
required sequence
Year Course Subject
I D
RAM
6a/b Survey of Theater and Drama
DRAM 112a Scene Design: Background and Practice*
DRAM 118a/b Master Class in Sound Design
DRAM 119b Electricity
DRAM 124a/b Introduction to Lighting Design*
DRAM 128a/b Sound Seminar
DRAM 138a/b Production Sound Design and Technology
DRAM 158a Introduction to Sound Design
DRAM 158b Recording Arts
DRAM 198a Sound Design Production Organization
One term of music elective, usually second term, or DRAM 188b, Individual
Music Lessons
Three production assignments (if prepared)
II
DRAM 115a Costume Design: Background and Practice*
DRAM 128a/b Sound Seminar
DRAM 218a/b Master Class in Sound Design
DRAM 248a Sound Designers and Directors Workshop
DRAM 248b Sound Design for New Plays
DRAM 258a/b Composition for Sound Design
DRAM 278b Advanced Problems in Sound Design
DRAM 288a/b Individual Music Composition Lessons
One term of music elective
One term of general elective
Three production assignments (if prepared)
III
DRAM 128a/b Sound Seminar
DRAM 318a/b Master Class in Sound Design
DRAM 358a/b Professional Development
DRAM 388a/b Individual Music Composition Lessons
Thesis (full production or research paper)
One term of music elective (optional)
One term of general elective
Three production assignments (if prepared)
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*DRAM 112a/115a/124a/b are required courses for Sound Design, while DRAM 112b/115b are optional and do not
count as general electives.
elective sequence
The elective sequence is determined in consultation with a departmental adviser. Stu-
dents must complete two terms of music electives and two terms of general electives.
Non-music electives may include
D
RAM
67a/T
HST
414a, Musical Book and Opera
Libretti Writing;
DRAM 141b, Law and the Arts; DRAM 169a, Shop Technology; DRAM
169b, Stage Rigging Techniques; DRAM 229a, Theater Planning and Construction;
DRAM 319a, Automation Control; DRAM 339a, Architectural Acoustics; DRAM 419b,
Control Systems for Live Entertainment. The design adviser must approve any exemp-
tions or adjustments to the elective sequence.
Courses of Instruction
DRAM 6a/b, Survey of Theater and Drama. See description under Dramaturgy and
Dramatic Criticism.
DRAM 67a/THST 414a, Musical Book and Opera Libretti Writing. See description
under Playwriting.
DRAM 112a/b, Scene Design: Background and Practice. See description under
Design.
DRAM 115a/b, Costume Design: Background and Practice. See description under
Design.
DRAM 118a/b, 218a/b, 318a/b, Master Class in Sound Design. This class provides
opportunities for an in-depth presentation of current production work during the
design, budgeting, and technical rehearsal phases. Participants must formally present
their design work as if to a director and design team. The presentation of a scale model
of the scenic design, as well as costume renderings, is essential. Any questions regarding
practical production problems may be presented in this forum. A calendar of presenta-
tion dates is distributed. Other design or production partners are welcome to attend
these classes. Two hours a week. David Budries.
DRAM 119b, Electricity. See description under Technical Design and Production.
DRAM 124a/b, Introduction to Lighting Design. See description under Design.
DRAM 128a/b, Sound Seminar. These regular meetings are required for all sound
designers. The seminar sessions feature guest artists (designers, composers, directors,
engineers, and consultants), visits to various productions or places of business, and prac-
tical modules on a variety of topics. Class typically meets two hours a week. Meeting
times are scheduled via e-mail. David Budries.
DRAM 138a/b, Production Sound Design and Technology. This intensive yearlong
course covers the fundamentals of sound and music technology used in professional
sound delivery systems and studio production. The course consists of lectures, demon-
strations, and practical assignments. Students learn the physical aspects of sound, audio
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control systems, digital signal processing, loudspeaker theory and application, digital
audio workstations, equalization techniques, time delay theory and practice, the basics of
stereophony, surround sound techniques, and aural imaging. The course proceeds to
cover sound reinforcement theory and practice, power amplifiers, loads, circuiting, radio
frequency microphone theory and practice, professional studio techniques, and playback
automation. Required for all sound designers. The class meets for four hours a week plus
practicals and additional modules of study. Brian MacQueen.
DRAM 141b, Law and the Arts. See description under Theater Management.
DRAM 158a, Introduction to Sound Design. In this class students develop an under-
standing about how sound and music can be used effectively as a tool to enhance mean-
ing in a play. Students analyze scripts, develop critical listening skills, and learn the
fundamentals of sound delivery systems as well as terms used to describe the perception
and presentation of sound and music in a theatrical setting. This course is required for
first-year lighting and sound designers and stage managers as well as second-year cos-
tume and set designers. Two hours a week. Faculty.
DRAM 158b, Recording Arts. In this course students learn basic recording practice for
remote and studio sessions. Topics include digital recording systems, auralization and
imaging, elements of psychoacoustics, microphone theory and application, music
recording, sound effects recording, cueing systems, studio monitoring, mixing practice,
final mastering, a review of audio control systems, and setting expectations for profes-
sional practice in a studio environment. This class is limited to eight participants. There
are five recording projects. Required for all sound designers. Permission of the instruc-
tor is required for non-majors. Two hours a week. Scott Metcalfe.
DRAM 169a, Shop Technology. See description under Technical Design and Produc-
tion.
DRAM 169b, Stage Rigging Techniques. See description under Technical Design and
Production.
DRAM 188b, Individual Music Lessons. This is an introductory project-oriented
lesson in music that allows first-year students to develop a path toward their musical
development. The student-driven projects are aimed at addressing the musical concerns
and needs of the individual, including notation, performance skills, and the expansion of
musical vocabulary. One hour per week, meeting time arranged with faculty. Matthew
Suttor.
DRAM 198a, Sound Design Production Organization. This course prepares students
to execute all the necessary production paperwork including cue sheets, schematic block
diagrams (line drawings or flow charts), system overlays on plan and section drawings,
magic sheets budgets, hook-up schedules, rack drawings, shop orders, budgets,
RF
assignments, RF schedules, and production archives. Other topics include production
responsibilities and preparation for technical rehearsals. Required software includes
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FileMaker Pro, Excel, and VectorWorks. Required for all first-year sound designers.Two
hours a week. David Budries.
DRAM 229a, Theater Planning and Construction. See description under Technical
Design and Production.
DRAM 248a, Sound Designers and Directors Workshop. The aim of this class is to
develop a strong and dynamic relationship among the director, sound designer, and/or
composer. Through a series of projects based on short scripts, participants explore the
vast potential of designed sound. Topics include the elements of sound design and com-
position, building an expressive aural vocabulary, developing critical listening skills,
understanding each other’s respective production processes, producing in traditional and
nontraditional venues, as well as sound design practice for film and television. Required
for all second-year sound designers and directors. Two hours a week. David Budries.
DRAM 248b, Sound Design for New Plays. This course examines the creative and
practical interchange among directors, sound designers, composers, and playwrights
through an investigation of the function of sound and original music in new plays. Stu-
dents use contemporary published plays and the works of first-year playwrights to
explore the aural creative process. Through critical listening, students attempt to extrap-
olate ideas from musical sources. The class then turns to a discussion of aesthetics, con-
tent, style, and vocabulary with the larger aim of exploring the developmental process
from preliminary sketches to a fully realized design. At times students work individually
as well as in assigned teams. Through the teamwork, directors and playwrights have an
opportunity to be part of practical studio work. The class also examines the role of sound
designer in musical theater, cinema, and television. Ninety minutes a week. David
Budries, Matthew Suttor.
DRAM 258a, Composition for Sound Design. This course explores composition as a
fundamental component of sound design, focusing on developing an aural imagination
through advanced digital tools. Students are assigned projects based on a variety of spe-
cialized techniques within a theatrical framework. Students present their projects on
assigned dates followed by discussion and critique. During the fall term, students realize
six compositional etudes that explore topics of investigation. The nature of the etudes is
negotiated with each individual to accommodate production schedules. Due dates are
agreed upon by week two (allowing for some flexibility in terms of content). Students
must complete at least four etudes by the end of the fall term in order to progress to
DRAM 258b. Required for all second-year sound designers. Two hours a week. Matthew
Suttor.
DRAM 258b, Composition for Sound Design. With reference to specific plays, this
course builds on the techniques acquired in the fall term as students continue to augment
their compositional palette through original and progressive studies in selected areas
such as idiomatic acoustic instrumental writing, computer-generated realization, and
song. Required for all second-year sound designers. Two hours a week. Matthew Suttor.
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ound Design
51
DRAM 278b, Advanced Problems in Sound Design. This course focuses on specific
practical problems that face all sound designers. It includes designing advanced sound
delivery systems, sound reinforcement systems, monitoring systems, and real-time
effects processing. Some problems challenge participants to be very creative with limited
resources. Students are assigned conceptual exercises. All class work is intended to pro-
mote creativity, innovation, and adaptation. Required for all second-year sound design-
ers. Two hours a week. David Budries.
DRAM 288a/b, Individual Music Composition Lessons. Individual project-oriented
studies in music composition, either acoustic or technological, aimed at addressing the
musical concerns and needs of the particular student, including notation and perfor-
mance skills. One hour per week; meeting time arranged with faculty. Matthew Suttor.
DRAM 319a, Automation Control. See description under Technical Design and Pro-
duction.
[
DRAM 339a, Architectural Acoustics. See description under Technical Design and
Production. Not offered in 2006–2007.]
DRAM 358a/b, Professional Development. This time is dedicated to development and
execution of the third-year thesis project and a professional sound design portfolio that
can include Web-based materials for professional promotion. This time is available to all
third-year students and is individually scheduled as required. One hour per student each
week is recommended. David Budries.
DRAM 388a/b, Individual Composition Lessons. See description for DRAM 288a/b.
Matthew Suttor.
DRAM 419b, Control Systems for Live Entertainment. See description under Tech-
nical Design and Production.
DRAM 468a/b, Independent Study in Sound Design. The student who desires to
pursue a specialized course of study in the area of Sound Design may elect an indepen-
dent study. A proposal might focus on a guided research project, artistic exploration, or
advanced audio technology. Proposals must be submitted in writing and department
approval must be obtained prior to enrollment for credit. Subsequent to enrollment, the
student must meet with the project adviser to plan an appropriate course of action and
discuss assessment. Credit is awarded based on the project adviser’s recommendation in
consultation with any other assigned advisers/tutors. Meetings to be scheduled regularly
to track progress. David Budries.
directing (m.f.a. and certificate)
Liz Diamond, Chair
The Directing department at Yale School of Drama admits a few talented individuals
each year who have demonstrated the potential to become professional directors. They
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bring to the School of Drama a wide range of sensibilities. But they share some crucial
qualities. They are generators of ideas and projects. They are not afraid to take risks, and
they take responsibility for the philosophical and political implications of their work.
They have a deep respect for the artists with whom they work. Above all, they have lively
imaginations, an appetite for hard questions, and a robust curiosity about the world
beyond their own cultural borders.
The Directing department’s entire aim is the education of the director as creative
artist and leader. To that end, in course and production work, emphasis is placed on
developing the director’s unique artistic imagination and mastery of collaborative lead-
ership. We want our directors to leave Yale School of Drama able to make theater that
reveals our world to us in surprising ways, that speaks to us now, whether the project is a
new play or old, whether it centers on a text or is derived from material not based on the
written word.
Our core courses are the Directing Practicum, which engages the student over three
years in a practical exploration of theatrical composition—the relationship of form to
content—through studio exercises, experiments, and projects; the Directing seminars,
which expose the director to a broad range of dramatic writing, to the history of the art
of directing, and to contemporary theories and practices in our field; and the Scene Study
Lab, where directors and actors develop their ability to creatively collaborate through
scene work and critical feedback. In addition, throughout the academic year, the Direct-
ing department hosts master classes and labs with visiting artists from around the world.
Because mastery in directing also requires a deep understanding of all the expressive
modes that together embody theater, the Directing department’s curriculum integrates
core courses of three key collaborative disciplines into its programming: acting, design,
and playwriting. Directors are required to participate in the core acting courses in their
first and second years. They take core courses in costume, set, lighting and sound design,
playwriting, and dramaturgy and dramatic criticism. In addition, directors are required
to take foundation courses in theater management. A variety of courses in other disci-
plines may also be taken as electives.
Hands-on production work involving intensive collaboration with fellow students in
all departments of Yale School of Drama is central to our training. Throughout their
three years at the School of Drama, directors practice their craft in diverse forums, rang-
ing from scene work to full productions in various performance spaces. Through these
varied production opportunities, directors develop their ability to respond to a great
range of artistic and logistical challenges. First-year directors serve as assistant directors
on School of Drama productions, participate as directors in the first-year collaborative
workshop project, and direct one new play by a student playwright. In the second year,
directors serve as assistant directors on Yale Repertory Theatre productions and direct
one verse project and one new play. Third-year directors direct one new play in a fully
supported production, as well as a full production of their own thesis project. In addition,
all directors are encouraged to direct productions for Yale Cabaret. Additional projects
may be assigned to directors in all three years, including new works, assistantships, and,
on occasion, casting in School of Drama and Yale Rep productions.
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Plan of Study: Directing
required sequence
Year Course Subject
I D
RAM
6a/b Survey of Theater and Drama
DRAM 11b Founding Visions for Places in the Art
DRAM 50a The Collaborative Process
DRAM 103a/b Acting I
DRAM 110a/b First-Year Directing
DRAM 113a Voice I
DRAM 320b Scene Study Lab
DRAM 330a/b Directing Practicum
Assignments as director and assistant director for School of Drama
productions
II DRAM 102a/b Scene Design
DRAM 115a Costume Design: Background and Practice
DRAM 120a/b Second-Year Directing
DRAM 124a/b Introduction to Lighting Design
DRAM 203a Acting II
DRAM 248a Sound Designers and Directors Workshop
DRAM 248b Sound Design for New Plays
DRAM 253b Clown
DRAM 320a/b Scene Study Lab
DRAM 330a/b Directing Practicum
One required elective
Assignments as director for School of Drama productions
Assignments as assistant director at Yale Repertory Theatre
III DRAM 87a/b Screenwriting I
DRAM 111a Functions of Leadership
DRAM 130a/b Third-Year Directing
DRAM 140a/b The Director’s Thesis
DRAM 320a Scene Study Lab
DRAM 330a/b Directing Practicum
One required elective
Assignments as director for School of Drama productions
Course requirements may alter, depending on the needs of a particular class or of an
individual.
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elective sequence
Directors take two terms of required electives over three years. Courses may be selected
from the Dramaturgy and Dramatic Criticism, Playwriting, and other departments
within Yale School of Drama, subject to approval by the course instructor and the
Directing chair. Where course scheduling permits, students may propose to fulfill an
elective requirement by enrolling in a course elsewhere within the University.
Courses of Instruction
DRAM 6a/b, Survey of Theater and Drama. See description under Dramaturgy and
Dramatic Criticism.
DRAM 11b, Founding Visions for Places in the Art. See description under Theater
Management.
DRAM 5oa, The Collaborative Process. A laboratory workshop in collective creation
designed for first-term actors, dramaturgs, and directors who are divided into four
discrete ensembles. Drawing from a single narrative source work selected by faculty—a
literary text, historical event, painting, or musical composition—each group, over the
term, develops and rehearses an assigned portion of this selected work. A final showing
of the four ensemble creations (in narrative sequence) is presented to the full School of
Drama community late in the term. The goals of the project include non-hierarchical
collaboration, the exercising of the techniques of the student’s chosen field of pursuit,
collective imagining and execution, and a sharing of individual theatrical talents. David
Chambers, Catherine Sheehy, Ron Van Lieu.
DRAM 87a/b, Screenwriting I. See description under Playwriting.
DRAM 1o2a/b, Scene Design. See description under Design.
DRAM 1o3a/b, Acting I. See description under Acting.
DRAM 11oa/b, First-Year Directing. An investigation of directorial skills and tech-
niques, focusing on rigorous close reading of the text, associative imagining, and detailed
production scoring. Through a progressive series of engagements with assigned play-
texts, role-playing exercises, and meetings with guest artists, the director develops
methodologies for reading for action, thematic focus, production and performance style,
and personalized theatricalism. The plays chosen for study complement the director’s
work at the Yale School of Drama in production and/or inside the curriculum of the
Acting department. Thus the first term’s work concentrates on the plays of Anton
Chekhov, and second term is devoted to working on the new play and an introduction to
reading Shakespeare for production. David Chambers.
DRAM 111a, Functions of Leadership. See description under Theater Management.
DRAM 113a, Voice I. See description under Acting.
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irecting
55
DRAM 115a, Costume Design: Background and Practice. See description under
Design.
DRAM 12oa/b, Second-Year Directing. A seminar for the examination of the artistic
and technical demands of verse drama. Emphasis is placed on the role of verse in deter-
mining action and shaping character. Plays chosen by students as verse projects, as well
as plays by major verse dramatists, especially Shakespeare and Molière, are used to inves-
tigate the relation of script requirements to production style and acting processes. Karin
Coonrod, Daniel Fish, Mark Lamos.
DRAM 124a/b, Introduction to Lighting Design. See description under Design.
DRAM 13oa/b, Third-Year Directing. Emphasis is placed on the further development
of interpretive skill through close reading and research, and stylistic orchestration of
one’s reading of a play in production. Student thesis production texts as well as plays and
landmark productions from the twentieth-century and contemporary avant-garde are
the course texts. Students’ own production strategies for these works are presented and
critiqued in weekly sessions. Liz Diamond.
DRAM 14oa/b,The Director’s Thesis. The primary project of the third year in direct-
ing is the thesis, a full production of a major work of classical or contemporary dramatic
literature, or a new or original work, to be chosen in consultation with the department
chair. The written component of the thesis is a production casebook documenting the
student’s preparation, rehearsal, and postproduction evaluation of the thesis production.
Consultation hours with the adviser to be arranged throughout the year. Adviser is
arranged in consultation with the department chair.
DRAM 2o3a, Acting II. See description under Acting.
DRAM 248a, Sound Designers and Directors Workshop. See description under
Sound Design.
DRAM 248b, Sound Design for New Plays. See description under Sound Design.
DRAM 253b, Clown. See description under Acting.
DRAM 32oa/b, Scene Study Lab. A practical course for the development of the direc-
tor’s ability to communicate his/her ideas about the content and form of a moment, a
scene, or a play to actors, to guide and partner the actor’s discovery and execution of dra-
matic conflict and action, and to read an actor’s work in rehearsal and performance and
provide timely and constructive feedback. Second- and third-year directors take this
course in the fall term; first- and second-year directors take this course in the spring
term. The Acting department rotates a small company of actors into this lab throughout
the year. Lab work is drawn from plays explored in directing seminars. At the discretion
of the faculty, additional material may include scenes from student directors’ School of
Drama projects and productions. David Chambers, Liz Diamond, Ron Van Lieu, and
visiting lecturers in Directing.
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DRAM 33oa/b, Directing Practicum. As the core course of the Directing department,
the Directing Practicum is designed to develop the student director’s artistic and practi-
cal ability to assume the complex of responsibilities required of the professional director.
Over three years, the Directing Practicum explores (1) text analysis and production
preparation, (2) composition on the stage, and (3) the director as leader of the collabora-
tive effort. Work in the Directing Practicum includes problem sets, open rehearsals,
exercises in composition, critiques of School of Drama and Yale Repertory Theatre pro-
ductions, and workshops with visiting artists. David Chambers, Liz Diamond.
dramaturgy and dramatic criticism
(m.f.a. and d.f.a.)
Catherine Sheehy, Chair
Students in the Dramaturgy and Dramatic Criticism department receive intensive train-
ing to prepare for careers in three areas: to work in theaters as dramaturgs, artistic pro-
ducers, literary managers, and in related positions; to work in theater publishing as crit-
ics and editors as well as in other capacities; to teach theater as practitioners, critics, and
scholars.
At the core of the training are seminars in literature, theory and criticism, and history
offered by the department’s faculty. These may be supplemented by courses taught else-
where in the University if approved by students’ advisers. The aim is to impart a com-
prehensive knowledge of theater and dramatic literature—a knowledge necessary to the
dramaturg, the writer and editor, and the teacher. Regarding the latter, every effort is
made to give qualified students teaching experience within the University.
Of particular importance in the program of study are the criticism workshops, which
are taught by various members of the faculty and which students must take in each of
their six terms. These courses are designed to improve skills in thinking and writing, and
are an essential component in the faculty’s evaluation of students’ progress from term
to term.
Historically, Yale School of Drama has been a pioneer in this country in introducing
and establishing the dramaturg as an essential presence in the creation of theater and as
a key member of a theater’s staff. Under the supervision of the resident dramaturg of Yale
Repertory Theatre, students are assigned to work on many varied productions, includ-
ing those of new scripts by School of Drama playwrights, workshops and full productions
by School of Drama directors, and professional presentations of classical and contempo-
rary works at Yale Repertory Theatre itself. Among the areas in which students partici-
pate are text preparation and oversight; translation and adaptation; preproduction and
rehearsal work on issues of design, direction, and performance; contextual research; pro-
gram and study guide notes and preparation; the conducting of audience discussions;
participation in programs in educational outreach; and related work in conjunction with
the marketing and media departments. Students also assist in Y
ale Repertory Theatre’s
literary office with script evaluation and communication with writers and agents. Thus
students are trained both as institutional dramaturgs, collaborating on the formulation
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ramaturgy and Dramatic Criticism
57
of artistic policy and its communication and implementation, and as production dra-
maturgs, operating within the rehearsal process.
In recognition of the fact that in recent years dramaturgs have not only assumed the
leadership of theaters under such titles as artistic director and producer but have also
founded theaters themselves, students take Founding Visions for Places in the Art
(
DRAM 11b), offered by the Theater Management department, and are encouraged to
take other courses in this department. By fostering this interchange, Yale School of
Drama hopes to remain at the forefront in helping new organizational models to be
discovered and explored, through which the art of theater will continue to flourish.
In addition to their training in production dramaturgy and literary management, stu-
dents have opportunities to develop as writers, editors, and translators through their
work on the professional staff of
Theater magazine, published three times annually by the
Yale School of Drama/Yale Repertory Theatre and Duke University Press.
Theater has been publishing new writing by and about contemporary theater artists
since 1968. The magazine’s perspectives are different from those of any other American
publication: at once practical, creative, and scholarly. Issues include new plays, transla-
tions, and adaptations; lively critical debates about policy, politics, and productions;
interviews with writers, directors, and other artists; reports from around the world; and
book and performance reviews.
Theater appeals to practitioners, academics, scholars, and
everyone interested in contemporary theater practice and thought.
Requirements for the
M.F.A. and D.F.A. degrees are discussed more fully in the fol-
lowing pages.
Quality Standards
The minimum quality requirement for the M.F.A. degree in Dramaturgy is a grade aver-
age of High Pass in all required courses and electives counting toward the degree. Stu-
dents who receive an Incomplete in any course are automatically placed on probation
until the work is completed.
Plan of Study: Dramaturgy and Dramatic Criticism
required sequence
Year Course Subject
I DRAM 6a/b Survey of Theater and Drama*
DRAM 11b Founding Visions for Places in the Art
DRAM 50a The Collaborative Process
DRAM 96a/b Principles of Dramaturgy
DRAM 106a Theater Magazine W
orkshop
DRAM 166a/b Criticism Workshop
DRAM 306a Models of Dramatic Structure
†
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*All first-year students must take the Survey of Theater and Drama (DRAM 6a/b) exemption exam. Those who do
not qualify for exemption must take this course in their second year.
†Models of Dramatic Structure (
DRAM 306a) and Issues in Twentieth-Century Performance (DRAM 306b) are
offered once every three years and are required for all Dramaturgy and Dramatic Criticism students. In the acad-
emic years they are offered, students reduce the number of required electives by two.
DRAM 306b Issues in Twentieth-Century Performance
†
DRAM 346a/b Literary Office Practicum
DRAM 396a/b Dramaturgy Practicum
At least four elective courses after consultation with adviser†
At least two production dramaturgy assignments
II DRAM 166a/b Criticism Workshop
DRAM 246a/b Translation and Adaptation
DRAM 306a Models of Dramatic Structure
†
DRAM 306b Issues in Twentieth-Century Performance
†
DRAM 346a/b Literary Office Practicum
DRAM 396a/b Dramaturgy Practicum
At least four elective courses after consultation with adviser
†
At least two production dramaturgy assignments
III
DRAM 166a/b Criticism Workshop
DRAM 306a Models of Dramatic Structure
†
DRAM 306b Issues in Twentieth-Century Performance
†
DRAM 336a/b Comprehensive Examinations
DRAM 346a/b Literary Office Practicum
DRAM 396a/b Dramaturgy Practicum
At least four elective courses after consultation with adviser
†
At least one production dramaturgy assignment
Additional Requirements for the Degree
reading list and basic knowledge of the field
Upon acceptance to the department, students receive a departmental reading list of dra-
matic literature, criticism, theory, and history, which is intended to be used throughout
their course of study as a basis for preparation for their comprehensive examinations, and
beyond as a guide and standard for their work in the field.
dramaturgical assignments
Each student serves as a dramaturg on one or more productions per year either at Yale
Repertory Theatre or in Y
ale School of Drama and assists the resident dramaturg in
script evaluation and related tasks. During the fall term of their first year, students are
assigned to a project in The Collaborative Process (
DRAM 50a). In the second term, stu-
dents may be assigned to a play by a School of Drama playwriting student and may also
work on other plays under the supervision of the resident dramaturg. In the second year,
students may be assigned to a verse project (see Directing department, Second-Year
Directing,
DRAM 120a/b). In the second and third years, students may undertake a proj
-
ect at Yale Repertory Theatre or a third-year director’s thesis production (see Directing
department, The Director’s Thesis,
DRAM 140a/b).
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ramaturgy and Dramatic Criticism
59
Students work on Yale School of Drama productions and Yale Repertory Theatre
productions subject to availability of projects and departmental requirements.
yale cabaret
Dramaturgy and Dramatic Criticism students are encouraged to work in all capacities at
the Yale Cabaret, but this participation is understood to be in addition to and in no way
a substitution for required departmental work. No student with an Incomplete grade in
any course, and no second- or third-year student on probation, may participate in the
Yale Cabaret in any capacity.
yale repertory theatre literary office
Each student is required to read at least eight scripts for Yale Repertory Theatre during
each year and to submit written evaluations of these scripts to the resident dramaturg.
This work is done under the supervision of the artistic associate and associate literary
manager, who are advanced students in the department.
theater magazine requirement
During their first year, Dramaturgy and Dramatic Criticism students are required to
work as editorial assistants on
Theater, the international scholarly and critical journal
co-published by Yale School of Drama and Duke University Press. Students in their first
year must also take the
Theater Magazine Workshop (DRAM 106a), taught by the editor,
which introduces them to major aspects of publishing such a journal. In the second and
third years, qualified students may have additional opportunities to work on the maga-
zine’s staff in a variety of editing, publishing, and marketing positions. Along with essays,
reviews, and translations by leading scholars and professional critics,
Theater has fre-
quently published outstanding work by Dramaturgy and Dramatic Criticism students,
who are encouraged to propose and submit writing and editorial projects for possible
publication.
language requirement
The language requirement is satisfied during the second year by the translation of a play
in the Translation and Adaptation seminar (
DRAM 246a/b). Students who wish to pursue
a special emphasis in translation may take this course again in their third year with the
approval of their advisers and the course instructor.
library orientation
Upon entering the department, each student is required to take orientation seminars
introducing him or her to the Yale University Library system and its various facilities and
resources.
comprehensive examination requirement
The comprehensives are a set of final written and oral qualifying examinations in which
third-year students demonstrate their ability to bring critical depth and dramaturgical
perspective to broad areas of the field. Through this process the student takes responsi-
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bility for mastery of subjects of his or her own choosing. Often these subjects have not
been covered in course work.
Each student may elect to write two independently researched exams or to write one
such exam and submit a dramaturgical casebook based on production work at Yale
Repertory Theatre or Yale School of Drama. All dramaturgs will sit for a two-part
departmental exam in the spring term. These written components are followed by an
oral comprehensive exam. Topics for written examinations and dramaturgical casebooks
must be chosen in consultation with the student’s adviser and reflect breadth of study
across time periods, genres, movements, etc.
For each independently researched exam, the student writes essay-length answers to
two questions in the chosen area of study. Areas of study should not overlap and may
include major historical periods such as Greek, Jacobean, French seventeenth century,
modern, contemporary; important dramatists or other figures such as Aristotle, Artaud,
Euripides, Shakespeare, Shaw; basic dramatic genres such as tragedy, comedy, melo-
drama; significant theoretically or critically defined movements such as romanticism or
symbolism. Other broad areas also may be devised in consultation with faculty advisers.
A dramaturgical casebook is based on a production assignment completed during the
student’s first five terms at Yale School of Drama and approved by the faculty. Eligible
projects include Yale Repertory Theatre, Director’s Thesis, or Verse Project produc-
tions. Casebooks must include the full and cut scripts, an essay of textual analysis, a com-
prehensive production history, a critical bibliography, pre-production and rehearsal jour-
nals, and other pertinent materials generated by work on the production (program pages,
poster design, etc.). Guidelines for the casebook are available from the department.
A two-part departmental examination is given in April and taken by all third-year
students on three consecutive days. There will be three areas of examination—Classical
and Medieval Drama, Pre-Modern Drama (Renaissance through 1880), and Modern
Drama (1880 to the present)—from which students will elect two.
Oral examinations are designed not only as defenses of the written exams but may be
a further exploration of areas students have worked up but not answered in their other
comprehensives as well. These exams will be completed in early May.
Final grades for the comprehensive examinations are determined upon completion of
the process. Following each written examination, students will be given a Pass/Fail eval-
uation by their faculty advisers. If the faculty concludes that the student has not done
passing work, he or she will be informed of the areas of deficiency. In such a case the oral
examination becomes an opportunity for the student to redress the deficiencies. A stu-
dent who fails one or more comprehensives and/or the oral will be allowed to retake the
failed examination(s) once more during the following year. A student failing the second
time will not be awarded a degree.
Second-year students must adhere to the following schedule:
February 12, 2007: Deadline for submission of comprehensive examination topics. At
this time, each student must declare his or her intention to do either two inde-
pendently researched exams or one such exam and a dramaturgical casebook.
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ramaturgy and Dramatic Criticism
61
Exam topics must be submitted in memorandum form to all non-visiting members
of the departmental faculty for approval.
March 1, 2007: Deadline for submission of a full comprehensive proposal, including
bibliography, for faculty approval.
April 9, 2007: Deadline for submission of final revised comprehensive proposal and
bibliography.
Third-year students must adhere to the following schedule:
September 18, 2006: Deadline for third-year students to meet with their advisers to
review and update comprehensive study procedures and propose a fall examina-
tion schedule. Students must take at least one examination or submit their case-
book during the fall term, according to the schedule below.
October 21, 2006: First fall deadline for taking a comprehensive examination.
November 18, 2006: Final fall deadline for taking a comprehensive examination.
February 10, 2007: First spring deadline for taking a comprehensive examination.
April 9, 2007: Final deadline for having completed independently researched exams
and casebooks.
April 21–23, 2007: Over the course of these three days, students take the departmen-
tal examinations in their two declared areas.
May 14, 2007: Final deadline for having completed the oral examination.
Requirements for the Doctor of Fine Arts in Dramaturgy and Dramatic
Criticism
Upon completion of the Dramaturgy and Dramatic Criticism department requirements
for an
M.F.A. degree and graduation from Yale School of Drama, a student is eligible to
register to remain in residence for the proposal year to apply to the Doctor of Fine Arts
(
D.F.A.) program. Acceptance into the D.F.A. program is not to be considered an entitle-
ment. Candidates must submit their proposals by January 16, 2007, for review by the
D.F.A. Committee. The proposal must conform to departmental guidelines and desig-
nate first and second readers. If either reader comes from outside the department, the
proposal must include a letter from the reader acknowledging his or her willingness to
advise the dissertation. It is understood that, except in extraordinary circumstances, if the
student’s proposed dissertation can be read by a member of the full-time faculty, that fac-
ulty member will be considered the first reader. Upon review, the committee may
approve, reject, or recommend changes to the proposal. If changes are recommended,
the student has until April 15, 2007, to obtain the Committee’s approval. If the proposal
has not been sufficiently revised at that time, it will be finally rejected.
A student holding an M.F.A. degree from Yale School of Drama has two years after
graduation to apply to and be accepted into the
D.F.A. program. Upon acceptance of the
proposal by the
D.F.A. Committee, the student is expected to complete the dissertation
within two years, working in close consultation with the first reader. In exceptional cir-
cumstances an extension may be granted to candidates who submit a written request.
Upon the Committee’s final approval of the dissertation, two bound copies must be
delivered to the chair of the Department of Dramaturgy and Dramatic Criticism six
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weeks prior to the date on which the student expects to graduate. The dissertation pro-
posal guidelines are available through the department.
The
D.F.A. candidate may elect to register as a full-time student in residence to pursue
work on the dissertation. The tuition fee for this status is
$1,000 per year in residence and
entitles the candidate to use libraries and related facilities, to audit courses related to his
or her research, to Yale Health Plan Basic Coverage, and to eligibility for tickets to Yale
School of Drama and Yale Repertory Theatre productions. In the first and second years
of candidacy, the student may apply for a fellowship to cover tuition and Yale Health Plan
Hospitalization/Specialty Coverage. Students enrolled in the
D.F.A. program are eligible
to apply for one of two departmental fellowships, a Yale Rep artistic associate fellowship,
a
Theater magazine fellowship, and teaching assistantships.
Courses of Instruction
DRAM 6a/b, Survey of Theater and Drama. An introduction to world drama and
theater through an examination of key texts of dramatic literature and performance
theory, as well as their cultural and institutional contexts. The first term covers classical
Greece and Japan, medieval and Renaissance England, and early modern Europe. The
second term traces the rise of modern theater from the eighteenth century to the pres-
ent. Karen Hartman, Todd London.
DRAM 11b, Founding Visions for Places in the Art. See description under Theater
Management.
DRAM 5oa, The Collaborative Process. See description under Directing.
DRAM 96a/b, Principles of Dramaturgy. A course that focuses on the historical emer-
gence and evolution of the dramaturg, as well as the principles governing the profession
and their practical application. James Leverett, Catherine Sheehy.
DRAM 1o6a, Theater Magazine Workshop. This course combines an overview of crit-
ical and scholarly publishing with a workshop focusing on editing
Theater magazine,
involving the planning of future issues and the completion of editorial assignments.
Required for all first-year Dramaturgy students. Thomas Sellar.
[
DRAM 116a, British Restoration and Eighteenth-Century Comedy. After the
social and political drudgery of Cromwell when the monarchy was restored with Charles
II, the theater in England enjoyed a renaissance of license and vigor. After the Restora-
tion, the government once again sought to constrain the ribaldry of the comic spirit and
the lifestyle of the stage. In this period the English added the comedy of manners, the
sentimental comedy, and—that sapling of the American musical—the ballad opera to
the comic canon. The only thing more vigorous than the theater was the talk of theater;
journals and coffeehouses were founded on such vital chat. This course surveys the
formal innovations of the period through the work of the age’s major authors from the
Duke of Buckingham through Gay and Fielding to Sheridan. Contextual readings bol-
ster investigations of the Stage Licensing Act of 1737 and the coffeehouse phenomenon.
Not offered in 2006–2007.]
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ramaturgy and Dramatic Criticism
63
[DRAM 126a, George Bernard Shaw. A selective, detailed study of Shaw’s plays, with
sidelong glances at his prefaces and other writings, such as drama and music criticism,
letters, and essays. Discussion also includes some of the major artistic-intellectual
influences on Shaw (e.g., Shelley, Dickens, Marx, Mozart, Wagner, Fabian Socialism)
and Shaw’s influences on others. Not offered in 2006–2007.]
[
DRAM 126b, Tragicomedy. Tragicomedy has been characterized as the quintessential
form of modern drama, but its origins extend back to the beginnings of our theater. As a
genre, it provides a necessary perspective from which to discuss many different kinds of
work, including some of the most complex, provocative, and resonant. To study it entails
the investigation of fundamental dramatic concepts such as the romance, pastoral, satire,
grotesque—and, of course, tragedy and comedy. Playwrights to be considered come
from every period and include Euripides, Plautus, Shakespeare, Beaumont and Fletcher,
Tirso, Calderón, Molière, Kleist, Musset, Ibsen, Strindberg, Chekhov, Lorca, Lady
Gregory, O’Casey, and Shaw. Not offered in 2006–2007.]
[
DRAM 136a, Shakespeare’s Dramaturgy. This course provides an approach to ana-
lyzing Shakespeare’s plays for production. It applies our contemporary knowledge
gained from working with living writers to classical texts. Both specifics in Shakespeare’s
dramaturgy and issues in classical texts in general are examined. The primacy of textual
analysis over secondary reading is emphasized, including study of sources (quartos, the
Folio, etc.), structure, and language (verse, rhetoric, grammar). A focus is placed on a
detailed study of the texts of
Romeo and Juliet and Macbeth, and the relation of their stage
histories to often flawed critical writing about them. Not offered in 2006–2007.]
[
DRAM 136b, Beckett. A detailed study of Beckett’s plays and prose, including Beckett
the critic on poets, painters, music, Proust, and performance. Not offered in 2006–
2007.]
[
DRAM 146a, Dramaturgs as Artistic Producers. As members of artistic staffs in the
professional theater, dramaturgs customarily take on managerial and producing respon-
sibilities as well as contributing to an institution’s artistic vision. This course is an intro-
duction to both the day-to-day and overall organizational and administrative issues
involved in new play development and production using models from both the non-
profit and the commercial theater. Not offered in 2006–2007.]
[
DRAM 146b, Theaters of the Black Atlantic. Through a close examination of dra-
matic texts, theatrical groups, and movements, this course offers a comparative study of
drama and theater produced by African, African-American, Black British, and Caribbean
practitioners. It explores how conventions of drama and theater
, as cultural practices,
offer sites for performing identity and subjectivity. The course uses the idea of the “Black
Atlantic” as a framing device signifying Africa’
s historical encounter with Europe, and
the connections of Africans and people of African descent in Britain, the United States,
and the Caribbean. The idea is conceptualized as a counter-modernist discourse to
European modernity, as well as a confluence of other modernities from which cultural
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practices such as drama and theater are resourced. Issues and theories of national, racial,
ethnic, gender, sexual, and class identities are closely studied. The years after World War
II to the end of the twentieth century frame the course’s historical context. Dramatists
include Wole Soyinka, Ngugi wa Thiongo, Ama Ata Aidoo, August Wilson, Ntozake
Shange, Suzan-Lori Parks, Robert O’Hara, and Derek Walcott. Groups include Market
Theatre, Kamirithu, Talawa Arts, Negro Ensemble, and Sistren. Drama in films such as
Rue Cases Negres, Dance Hall Queen, and Do the Right Thing are studied. Not offered in
2006–2007.]
DRAM 156a, American Classic Comedy Between the Wars. The classics of Ameri-
can comic canon are true reflections of the national character—a volatile compound of
twice-shy wariness and wide-eyed credulity. The continual fine-tuning of that character
is one of the chief dramaturgical strategies of comic writers in the period. And the
mother tongue is the sharpest tool they have in their kit. The American vernacular was
undergoing an unprecedented transformation: the jazzy argot of the journalist, the
snappy pitch of the Madison Avenue ad man, the idiosyncratic patois of the assimilating
immigrant, and the gaudy patter of the bootlegger infused the language. When the soar-
ing national confidence after victory in the Great War and a booming Jazz Age economy
buckled with the freefall of the Great Depression, another color was added. The best
comedy written for the stage and (after 1927) for the screen during the period exploits this
holiday time of the American tongue. The course focuses on the primacy of language in
the work of these American men and women of letters who wrote so well out of the sides
of their mouth. Catherine Sheehy.
[
DRAM 156b, Shakespeare’s Tragic Modes. An intensive study of seven tragedies,
their performance history and criticism, along with major critical theories. The plays are
Hamlet, Othello, King Lear, Macbeth, Troilus and Cressida, Antony and Cleopatra, and Cori-
olanus.
Not offered in 2006–2007.]
DRAM 166a/b, Criticism Workshop. A workshop in critical writing in which the stu-
dent’s work is analyzed and discussed by the class and the instructor. The class is divided
into sections. In the fall term of their first year, students take a workshop in reading and
writing about dramatic texts. Elinor Fuchs, Jonathan Kalb, Gordon Rogoff, Thomas
Sellar.
[
DRAM 176a, Satire: From Aristophanes to Absolutely Fabulous. This course exam-
ines the genre so efficiently defined by George S. Kaufman. “Satire,” he said, “is what
closes on Saturday night.” The satirist is part artist, part social critic, unable to stem the
tide of outrage welling in his pen (or word processor). Beginning with Aristophanes, the
course wends its way through the works of Swift, Fielding, Hecht, Perlman, MacLeish,
Monty Python, Bulgakov, and Jennifer Saunders. Although the primary emphasis is, per-
force, on dramatic literature, the course also avails itself of other prose forms and video.
Not offered in 2006–2007.]
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[DRAM 176b, Performance Criticism. Good prose meets variable performance: the
quest for standards and vocabulary in the criticism of English language performance. A
seminar exploring the critical writings of nineteenth-century critics from Hazlitt to
Shaw, and twentieth-century critics from Beerbohm to Bentley and beyond. Not offered
in 2006–2007.]
DRAM 186a, German Drama. This course covers what has been called the “German
Moment” in world theater, that is, the period approximately encompassed by the life of
Johann Wolfgang von Goethe (1749–1832). It includes work by Lessing, Lenz, Goethe,
Schiller, Tieck, Kleist, Grillparzer, Hebbel, and Büchner, and explores such concepts as
classicism (including Weimar classicism), romanticism, and the
Sturm und Drang. The-
ater production practice, acting, historical and philosophical context, and the other arts
are also part of the discussion. James Leverett.
DRAM 186b, Theater About Theater: The Theatricalist Play from Shakespeare to
Postmodernism.
“Theatricalist” is a term describing plays that self-consciously use the
means of theater in their dramatic construction. This type of play, along with its near rel-
ative the Dream Play, follows the
Theatrum Mundi tradition in Western thought, and
poses an interesting alternative to the Aristotelian tradition of theater as mimesis. The
first part of the course is devoted to classic plays by Kyd, Shakespeare, Calderon, and the
German Romantics. Modern plays by Pirandello, Genet, Adrienne Kennedy, Heiner
Müller, Suzan-Lori Parks, Peter Barnes, and others make up more than half the course
and take up such themes as revolution, gender, race, and the Holocaust. Elinor Fuchs.
DRAM 2o6a/b, Tutorial Study. A second- or third-year dramaturg may elect to under-
take tutorial independent study by submitting, in consultation with his or her proposed
tutor, a request stipulating course title, course description, reading list or syllabus, sched-
ule of meetings with the tutor, and method of grading the tutorial. Approval must be
granted by the student’s adviser and by the department. Forms for application are avail-
able from the registrar of the School of Drama. Faculty.
[
DRAM 216a, Three Seasons: The Literature of Yale Repertory Theatre and Yale
School of Drama.
This class looks at the plays of the current Yale Repertory Theatre
season, third-year director’s theses, and verse projects. While only the Yale Rep con-
sciously creates a “season,” this class examines how these three groups of plays interact
as well as how they operate distinctly, in order to come to an understanding of the
dynamics of a season or cycle. Individual texts are examined from such different aspects
as their place in their authors’ body of work and in the dramatic canon; their historical
and critical contexts; the dramaturgical strategies their authors employ, and the implica-
tions for production or performance of those strategies; text preparation, production his
-
tory, and other issues associated with the preproduction process. Not offered in 2006–
2007.]
[
DRAM 216b, Falstaff, Shylock, Bottom, and Others. A study of Shakespeare’s comic
modes and characters, ranging through histories, problem plays, romances, tragedies,
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and even some comedies. Falstaff, however, casts his shadow—and glow—over the
entire proceedings. Not offered in 2006–2007.]
[
DRAM 226a, Shakespearean Drama. An intensive seminar that explores selected plays
by Shakespeare and major critical theories and background material on Elizabethan and
Jacobean drama. Not offered in 2006–2007.]
[
DRAM 226b, Shakespeare and His Comic Brethren. An intensive study in which
Shakespeare matches wits with his friends and rivals, all of them defining comedy as they
like it, some based on character (Falstaff, Rosalind), some on Humours (
Volpone), others
on festival and pastoral, and finally, those who find life and fun in the non-aristocratic
city. Playwrights covered, along with critical responses and historical frameworks, are
Shakespeare, Jonson, Dekker (and Middleton), with a presumptuous leap to 1641 and
Shirley’s
Hyde Park. Not offered in 2006–2007.]
DRAM 236a, Opera as Drama. A study of lyric drama and its vocabulary, with central
emphasis on plays transformed into musical settings. Among the playwrights turned by
librettists and composers into operatic sources are Euripides, Sophocles, Beaumarchais,
Shakespeare, Schiller, Sardou, Maeterlinck, and Büchner; composers are Gluck, Cheru-
bini, Mozart, Verdi, Puccini, Wagner, Strauss, Debussy, Alban Berg, Benjamin Britten,
and Aribert Reimann. Production choices from the eighteenth century to Robert Wilson
are also examined, along with a study of operatic components from the aria and ensem-
ble to the chorus and orchestra. Musical proficiency not required. Gordon Rogoff.
DRAM 236b, Corneille, Racine, and Molie`re: Glory, Honor, and Duty. This course
explores the concentration of talent, the consolidation of empire, and the economic
incentives necessary to manufacture “the Classical Moment” in French drama. In addi-
tion to readings of Corneille’s stringent heroic conceptions, Racine’s pagan tragedies,
and deep draughts from Molière’s horn of plenty, time is spent examining the cultural
environment—Richelieu’s statecraft, court life, Jansenism, and the endless theoretical
hissy fits—that formed the topography of the Baroque landscape. James Magruder.
DRAM 246a/b, Translation and Adaptation. This seminar explores the process of
adapting and/or translating a play augmented by practical assignments, culminating in
the translation of a foreign play. Required for second-year dramaturgs, and may be
repeated as an elective in the third year with the permission of the student’s adviser and
the course instructor. James Magruder.
[
DRAM 256a, What’s So Funny: Comic Theory and Practice. The formal and moral
dimensions of comedy have been the subject of constant contemplation and comment
from its written beginnings in the West to the present day. And key to the successful pro-
duction of a comedy or the authoritative criticism of such a production is understanding
the rules of the form. This course examines the workings of various comic forms through
readings in theory and dramatic literature and screenings of films. The syllabus includes
works by Aristophanes, Aristotle, Bakhtin, Benjamin, Bergson, Chaplin, Dryden,
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Feydeau, Frye, Goldsmith, Juvenal, Lope de Vega, Meredith, Molière, and Shakespeare.
Not offered in 2006–2007.]
[
DRAM 276a, Greek Drama. This course focuses primarily on Greek tragedy, consid-
ering the most important plays by Aeschylus, Sophocles, and Euripides, as well as two
comedies by Aristophanes. In addition to studying the plays, we read some modern crit-
ical essays. The emphasis is on locating the dramas in terms of their cultural context
including mythic and epic background, Athenian history, and dramatic conventions. The
course work consists of participation in discussion, several short (two-page) papers, and
one slightly longer paper (five to ten pages) and a class presentation at the end of the
term. Not offered in 2006–2007.]
[
DRAM 276b, Euripides and Aristophanes. Euripides and Aristophanes are often
depicted as a study in contrasts, both ethically and aesthetically. In this view the trage-
dian represents the new and the unorthodox, while the comic poet promotes traditional
values. Even in ancient times, however, it was recognized that the two writers had a great
deal in common, so much so, in fact, that another comic poet, Kratinos, coined the verb
“euripidaristophanize” to describe their shared poetic practice. This course examines the
plays of Euripides and Aristophanes in tandem, concentrating on features such as parody,
self-referentiality, and meta-theatricality. The readings consist of the plays in translation
and selected modern critical essays. Not offered in 2006–2007.]
[
DRAM 286a,The Second Avant-Garde, 1918–1939. This course is a sequel to DRAM
286a but one is not required to take the other. Writers whose works are explored include
Brecht, Toller, Bulgakov, Horvath, Pirandello, Artaud, Ghelderode, and Witkiewicz. As
with the previous course, contemporary direction, design, and theory are examined
along with the larger background of the period. Not offered in 2006–2007.]
DRAM 286b, The First Avant-Garde, 188o–1918. This course explores the roots of
European theatrical modernism in such movements as naturalism, symbolism, expres-
sionism, and futurism. Among the writers whose texts are read are Hauptmann, Ibsen
(the symbolist), Chekhov (the symbolist), Strindberg (the symbolist and expressionist),
Wilde, Yeats, Maeterlinck, Jarry, Wedekind, and Kraus. Innovations in direction, design,
and theory are also investigated, as well as the general social, political, and philosophical
background of the period. James Leverett.
[DRAM 296a, The Third Avant-Garde, 194o –1969. This course is the third in the
avant-garde sequence, but
DRAM 286a and 286b are not prerequisites. In this course,
there are three geographic areas of focus: Mediterranean (Sartre, Camus, Ionesco,
Genet, Arrabal, et al.); Germanic (Dürrenmatt, Frisch, Handke, Weiss, Müller, et al.);
Eastern European (Mrozek, Gombrowicz, Rozewicz, Havel, et al.). Attention is paid to
the political, social, and philosophical background of the period, developments in the
other arts, and the work of significant theater directors. Not offered in 2006–2007.]
[
DRAM 3o6a, Models of Dramatic Structure. Dramatic form, debated over the con-
tentious 2,400-year history of Western dramatic criticism that began with Aristotle, is
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the principal subject of this course. Reading plays and dramatic theory written up to the
beginning of the twentieth century, the course explores classic, medieval, enlightenment,
romantic, and symbolist dramatic structures with special focus on the ways ideas illumi-
nate and shape plays and teach us how to perform them. Not offered in 2006–2007.]
[DRAM 3o6b, Issues in Twentieth-Century Performance. In a stunning reversal of
priorities, theories of the dramatic text give way to theories of theater and performance
in twentieth-century modernism. By the end of the century, text-based theater comes to
be seen as one branch of the larger field of performance. Marinetti, Artaud and Brecht,
Gertrude Stein and Grotowski, Richard Schechner and Joseph Roach are among those
who shape the discussion. The ongoing debate on the meaning and value of “mod-
ernism” is a central focus. For non-dramaturgs, 306a is not a prerequisite. Not offered in
2006–2007.]
[
DRAM 326b, British Postwar Drama: 1945 to the Present. An intensive seminar that
explores the work of British playwrights, directors, and actors from the end of World
War
II to the present: from Osborne, Pinter, and Arden to Hare, Sara Kane, and Raven-
hill; from Olivier, Gielgud, Ashcroft to Dench, Branagh, and Rylance; from Brook, Hall,
Littlewood to Nunn, Hytner, Warner. Not offered in 2006–2007.]
DRAM 336a/b, Comprehensive Examinations. Students submit comprehensive pro-
posals to their advisers and other designated faculty members who help them to focus
their areas of concentration and prepare bibliographies. In this way, the faculty oversees
the course of study for the comprehensives. This tutorial is an essential part of the pro-
cedure leading to an
M.F.A. degree. Catherine Sheehy and faculty.
DRAM 346a/b, Literary Office Practicum. Among the most important responsibilities
of an institutional dramaturg is the evaluation of new writing. The dramaturg’s ability to
analyze and assess the potential of unproduced work is crucial to a theater’s vitality. In the
Literary Office Practicum students in all three years read work submitted for Yale Reper-
tory Theatre and write reader’s reports articulating the scripts’ strengths and weaknesses.
These reader’s reports provide the basis for the Literary Office’s communication with
playwrights. This course, led by the resident dramaturg, is Pass/Fail. Catherine Sheehy.
[
DRAM 356a, Melodrama. “Melodrama is not a special and marginal kind of drama, let
alone an eccentric or decadent one; it is drama in its elemental form; it is the quintes-
sence of drama.” This statement by Eric Bentley provides the cornerstone for this
course. The approach is threefold: melodrama as a ubiquitous dramatic impulse from the
earliest times (Euripides, medieval theater, Shakespeare and his contemporaries); melo
-
drama as an expression of society—a basic element of popular art (essential steps
in the democratization of theater in Europe and the United States coincide with the
invention of the genre “melodrama” in the eighteenth century
, its flowering in the nine
-
teenth, and its role in the birth of cinema); melodrama as a form explored and exploited
by modern theater innovators in this century (politically radicalized by Brecht and
others; radically formalized by the surrealists and Richard Foreman, among others). Not
offered in 2006–2007.]
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[DRAM 366a, Contemporary American Drama. A seminar on American drama from
1960 to the present. Among the playwrights to be considered are Albee, Shepard,
Kennedy, Baraka, Fornes, Mamet, Kushner, Shawn, and Parks. Not offered in 2006–
2007.]
[
DRAM 366b, Modern American Drama. A seminar on American drama from World
War I to 1960. Among the playwrights to be considered are O’Neill, Stein, Cummings,
Odets, Wilder, Hurston, Williams, Bowles, and Miller. Not offered in 2006–2007.]
[
DRAM 376a, Ibsen, Strindberg, and the Invention of Modern Drama. This course
explores the entire span of Ibsen’s dramatic career, along with selected plays of August
Strindberg. Special attention is given to the wide range of genres attempted by these two
theatrical olympians: romantic epic, history play, realistic and naturalistic drama, sym-
bolist mystery play, and expressionist station drama. The reading includes philosophical
texts of the period, as well as criticism showing the changing reception of the two play-
wrights over the course of the past century. Not offered in 2006–2007.]
[DRAM 376b, The American Avant-Garde. Topics include the Living Theater, Hap-
penings, Cunningham/Cage, Open Theater, Judson Dance Theater, Grand Union,
Bread and Puppet Theater, Performance Group, Ontological-Hysteric Theater, Mere-
dith Monk, Robert Wilson, Mabou Mines, and the Wooster Group. Not offered in
2006–2007.]
[
DRAM 386b, American Drama to 1914. Topics include the European inheritance,
theater and nation-building, melodrama and the rise of realism, popular and nonliterary
forms. Readings in Tyler, Dunlap, Aiken, Boucicault, Daly, Herne, Mitchell, Moody,
Fitch, and Crothers, among others. Not offered in 2006–2007.]
DRAM 396a/b, Dramaturgy Practicum. This course consists of discussion among the
departmental faculty and students about just-completed and current projects. The pur-
pose is an exchange of practical and philosophical thoughts and information about issues,
problems, and procedures encountered in the field. It meets monthly at a time and place
designated before each session. The course is offered for Pass/Fail, and is required of all
Dramaturgy students. James Leverett, Catherine Sheehy.
[
DRAM 496b, Performing beyond the Human: Ecology, Animality, Theater. This
course explores intersections between theater practice, performance theory, and the
emerging fields of animal studies and ecocriticism. How has performance, and
specifically theater, reflected, affirmed, contested, or flagrantly ignored the growing cul-
tural awareness of threats to the environment? What accounts has it furnished of the rea-
sons for these threats? What models has it proposed for encountering, understanding,
and responding to these threats? Among the topics to be explored in relation to modern
and contemporary theater practice are: eco-catastrophe and eco-apocalypse, animality
and the construction of the human, zoo culture, and post-humanism. A fundamental
inquiry of the course concerns the intersection of ecocritique and theatrical semiosis: can
performance, by virtue of its unique ontology and phenomenology, offer new and unique
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approaches to the ecological crisis before us? Readings for the course are selected from
theorists like George Sessions, Carolyn Merchant, Kate Sopher, Jean Baudrillard, and
Gilles Deleuze, and artists like Ibsen, Chekhov, Beckett, Churchill, O’Neill, Shepard,
Rosenthal, and Breuer. Not offered in 2006–2007.]
Students may elect to take appropriate graduate courses in other schools and depart-
ments at Yale, subject to permission of the instructor, scheduling limitations, and the
approval of the faculty adviser.
playwriting (m.f.a. and certificate)
Richard Nelson, Chair
The Playwriting department is the oldest playwriting program in America and for
decades has helped develop some of the country’s finest and most distinguished play-
wrights. Yale School of Drama’s unique structure allows the playwright to work with and
learn alongside student actors, directors, designers, stage managers, dramaturgs, theater
administrators, and theater technicians. This close working relationship with other tal-
ented students in all fields of theater helps the playwright enter the profession with an
understanding of and connection to all elements of the professional theater. Playwrights
are people of the theater and collaboration is at the heart of all theater-making. The
School of Drama and the Playwriting department are organized around this principle.
Playwriting is where theater begins. Without the play there is nothing to direct, act,
design, or produce. All theater flows from the play, and the playwright stands at the very
center of the theatrical landscape. This landscape is infinitely varied, both in subject and
form, and the goal of the department is to encourage the widest range of work possible,
to help students follow their voices, and to mentor their growth and understanding of the
playwright’s craft.
The number-one need of young playwrights today is to see productions of their plays.
And productions are the heart of the playwriting department. Each playwriting student
receives three productions during his or her time at Yale School of Drama as part of three
new play festivals. The first-year playwrights have their one-acts produced in an evening
of one-acts in February. Second-year playwrights have their ninety-minute plays pro-
duced in a festival of three ninety-minute plays presented on consecutive weekends in
November. Third-year playwrights have their full-length plays produced, in repertory,
in a festival of three full-lengths in May. This last festival includes design budgets, and
the public is invited, and tickets sold. All productions are directed and acted by students.
Course work is completely tied into these festival productions. Plays are discussed and
analyzed from their beginnings through rehearsal drafts, and postmortems are con-
ducted of productions. Readings of plays are conducted sparingly, with care, and with the
constant understanding that a reading is often not the best way to experience a new play.
Emphasis is on individuals reading the plays outside of class and on discussions based on
their unfiltered reactions. The relationship between playwright and director is con-
stantly addressed both in pre-production and production discussion, as is the more
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inherently undefined relationship between playwright and dramaturg. Through weekly
guest seminars, playwrights are exposed to a wide range of theater professionals and dis-
cussions of their careers, and third-year playwrights have the opportunity of having a
wide range of theater professionals respond to their plays. Supporting the writing and
production of the students’ plays are courses in related writing fields: screenwriting,
translation, musical book and opera libretti writing; and courses in other theater disci-
plines.
The Playwriting department at Yale School of Drama requires the playwright to write
throughout the year, including the summer when he or she is not in residence. Recog-
nizing this requirement, the School of Drama offers to pay playwriting students up to
240 hours of Work-Study to write during the summer after their first year and the
summer after their second year. Yale Cabaret offers further production opportunities for
new work and new plays. Today the profession of playwriting is at a crossroads in the
American theater. A culture has evolved where too often the first response to a new play
is “Let’s fix it.” Classical plays, however, even those with massive internal contradictions,
are treated by these same theater professionals as works “to be solved.” It is the goal of
the Playwriting department of the School of Drama to re-establish the new play in the
American theater as a work “to be solved” by others, and only “to be fixed” by the play-
wright. It is also the goal of the Playwriting department to teach playwrights how to “fix”
their own plays.
Plan of Study: Playwriting
Year Course Subject
I DRAM 6a/b Survey of Theater and Drama
DRAM 7a/b First-Year Playwriting
DRAM 17a/b Reading Plays
DRAM 37a Master Class in Performance-Based Theater
DRAM 47a/b Plays and Playwrights in Society
DRAM 77a/b Weekly Guest Seminars
DRAM 107a Master Class: Writing for Change
Suggested electives: DRAM 102a, Scene Design; DRAM 124a, Introduction
to Lighting Design;
DRAM 163b, Text Analysis
II
DRAM 17a/b Reading Plays
DRAM 27a/b Second-Year Master Class
DRAM 47a/b Plays and Playwrights in Society
DRAM 67a/THST 414a Musical Book and Opera Libretti Writing
DRAM 77a/b Weekly Guest Seminars
DRAM 87a/b Screenwriting I
DRAM 107a/b Master Class: Writing for Change
DRAM 207b Second-Year Tutorial
Suggested elective: DRAM 163a, Text Analysis
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III DRAM 17a/b Reading Plays
DRAM 37a Master Class in Performance-Based Theater
DRAM 37b The Play in Production
DRAM 47a/b Plays and Playwrights in Society
DRAM 77a/b Weekly Guest Seminars
DRAM 97a/b Screenwriting II
DRAM 307a/b Translation Tutorial
Suggested elective: DRAM 327a/b, Master Class: Theater History Tutorial
Writing Schedule: Many of the following courses relate specifically to the plays being
written for production. The writing schedule for these plays is as follows: One-act plays
are written during the first term of the first year. These plays are produced in an evening
of one-acts in February. Ninety-minute plays are written during the period beginning
the second term of the first year, and continuing through the summer between first and
second year and the first term of the second year. These plays are produced in a festival
of three ninety-minute plays presented on consecutive weekends in November. Full-
length plays are written during the period beginning the second term of the second year,
and continuing through the summer between second and third year and first term of the
third year. These plays are produced in repertory, in fully designed productions, in May.
Production Note: Although it is the goal and hope that all playwrights receive the three
productions described above, all plays are subject to the approval of the chair prior to
production.
Courses of Instruction
DRAM 6a/b, Survey of Theater and Drama. Required for first-year students. See
description under Dramaturgy and Dramatic Criticism.
DRAM 7a/b, First-Year Playwriting. A required seminar for first-year playwrights.
First term: the one-act play, from idea to fruition to production. Beginnings, structures,
ways to organize and develop plays are discussed in the context of the one-act plays being
written by the playwrights. These plays are produced in February as a three-play one-act
play festival directed by first-year directing students. Pre-production and production
work is shared and discussed with regard to exploring and analyzing the playwright-
director relationship and the role of the playwright in the rehearsal process. Second
term: the initial stages of writing a ninety-minute play which is produced in the follow-
ing November. Richard Nelson.
DRAM 17a/b, Reading Plays. Through weekly discussion of contemporary plays, this
course familiarizes students with the landscape of contemporary work and develops
among them a shared vocabulary for play analysis. Discussions are occasionally led by
department guests. As an ongoing course over the three years of study at Yale School of
Drama, this course is a key means of developing each student’
s understanding of his or
her own voice as it relates to the world of contemporary writing. Rebecca Rugg.
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DRAM 27a, Second-Year Master Class. A fall-term seminar for second-year play-
wrights on “writing characters of a different race” from the playwright. Lynn Nottage.
DRAM 27b, Second-Year Master Class. A spring-term seminar for second-year play-
wrights taught in New York City. Visits to productions, rehearsals, and meetings with
theater professionals, as well as discussion of assigned weekly writing. John Guare.
DRAM 37a, Master Class in Performance-Based Theater. A seminar for playwrights
about understanding dramatic action by looking at when and how it is manifested in text
and when and how it is manifested performatively. Various idiosyncratic voices are stud-
ied, whose work only makes sense when performed in a very particular style. Lisa Kron.
DRAM 37b, The Play in Production. Required seminar for third-year playwrights.
Discussion and anaylsis of rehearsal-ready drafts of full-length plays with working pro-
fessionals in theater, including actors, directors, designers, critics, producers, agents, and
playwrights. Ongoing discussions with these working professionals on issues of pre-
production and production, in preparation for the production of the plays with full
design elements in the May Play Festival. Richard Nelson, Rebecca Rugg, and guests.
DRAM 47a/b, Plays and Playwrights in Society. An “umbrella” course for all play-
wrights covering numerous short-term seminars, workshops, guest discussions on spe-
cific topics, in-depth readings of major playwrights such as O’Neill in the first year, and
team-teaching in high schools and homes for the elderly in the second and third years.
The philosophy behind this course is that playwrights are part of society, and an active
engagement with the world is as important to writing good plays as is learning craft.
Second- and third-year students team-teach playwriting or creative writing for five
weeks, one day per week, each term, in a local high school or retirement home. First-year
students visit the Performing Arts Library in New York City as well as Yale’s Beinecke
Rare Book and Manuscript Library to watch videos of theater productions, and to read
and discuss plays weekly. Seminar subjects for all playwrights include African, Asian,
South American, and Gay Theater; the history of the American nonprofit theater; design
for playwrights; script submission and script formatting discussions and analysis; and
grantsmanship. Workshops include the role of the director in directing new plays led by
professional directors. A series of lunches are scheduled, attended only by Playwriting
students, during which one of the students’ plays is discussed. Faculty and guests.
DRAM 67a/THST 414a, Musical Book and Opera Libretti Writing. This course is
open to students from other departments at Yale School of Drama and Yale College. It
combines practical instruction in book writing for musical theater with close reading of
historical and contemporary examples from the genre. Faculty
.
DRAM 77a/b, Weekl
y Guest Seminar
s.
Required for all playwrights. Once a week a
different practicing theater professional (playwright, actor, director, literary manager,
agent, critic, designer
, etc.) discusses his or her work and career in the theater as it relates
to new plays. Richard Nelson, Rebecca Rugg, and guests.
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DRAM 87a/b, Screenwriting I. A required seminar for second-year playwrights and
third-year directors. Discussion and analysis of screenplays and the films that were
made from them. In the first term, students work on exercises in writing a short screen-
play based on a short story and on writing a short screenplay based on an original idea.
Lindsay Law.
DRAM 97a/b, Screenwriting II. A seminar and tutorial for third-year playwrights in
which they adapt their second-year produced plays into full-length screenplays. Lindsay
Law.
DRAM 1o2a, Scene Design. See description under Design.
DRAM 1o7a, Master Class: Writing for Change. This course explores theatrical
strategies for creating social change and political action. Consideration is given to how
contemporary theater artists, particularly writers, engage in twenty-first-century cre-
ative activism. Contemporary models of global activism are studied. Students propose
and create cultural and political interventions as a class. Rebecca Rugg.
DRAM 124a, Introduction to Lighting Design. See description under Design.
DRAM 2o7b, Second-Year Tutorial. A playwriting tutorial for second-year playwrights
on the writing of their third-year plays for the Carlotta Festival. Work in this course con-
tinues throughout the summer between the student’s second and third years. Richard
Nelson.
DRAM 3o7a/b, Translation Tutorial. A third-year tutorial in which playwrights “trans-
late”—either from the original language or from a literal translation—a full-length
classic play. Richard Nelson.
DRAM 327a/b, Master Class: Theater History Tutorial. A third-year tutorial that
coincides with
DRAM 307a/b. The tutorial involves individual study and exploration of
the body of work, background, life, and world of the playwright being translated in
DRAM 307a/b. John Fisher.
DRAM 417b/THST 413b, American Musical Theater and National Culture. This
course considers the relationship between nationalism and popular culture by examining
the development of American musical theater across the twentieth century. It places the
majority of emphasis on the mid-century musicals of the form’s Golden Age, and ana-
lyzes and compares musicals based on a variety of criteria including their engagement
with evolving historical, social, and cultural forces; their differing performance aesthet-
ics; formal considerations; issues of adaptation; and constructions of class, race, and
gender
. Rebecca Rugg.
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stage management (m.f.a. and certificate)
Mary Hunter, Chair
The Stage Management department is designed to prepare the qualified student for pro-
fessional stage management employment, with the intended goal of assisting the student
to recognize and fulfill his or her role as an artistic collaborator and as an effective orga-
nizational manager throughout the entire production process. The role of the Produc-
tion Stage Manager requires a deep commitment to the artistic process and a fundamen-
tal desire to serve the work through the creation of an environment in which artistic risks
to support the work can be taken. The department seeks experienced, well-educated, and
highly motivated students who are able to use the resources of Yale School of Drama and
Yale Repertory Theatre to expand their professional abilities and deepen their artistic
experiences.
This rigorous interdisciplinary curriculum consists of a balanced combination of
required courses which provide a wide range of knowledge and training essential for
today’s professional. In addition to the classroom requirements, students are assigned
each year to stage management positions for Yale School of Drama and Yale Repertory
Theatre productions that reflect progressively increased responsibilities throughout the
plan of study. While the program of study is structured to prepare the student for work
in the commercial and regional theater, it also provides a strong basis for learning a vari-
ety of artistic skills and managerial tools essential for employment opportunities in many
different entertainment areas such as touring, ballet, opera, event management, and
industrials. Workshops, seminars, and lectures by noted professionals provide an essen-
tial component in the course of study.
Yale Repertory Theatre serves as an advanced training center for the department.
During his or her first year, the student may have the opportunity to work at Yale Rep in
a production capacity. As part of the second year of study, the student is assigned as an
assistant stage manager on at least one production. And in the final year, providing the
standards and qualifications set forth by the department are met, the student will be
assigned as the stage manager for a Yale Rep production. This fulfills the student’s thesis
requirement and provides an opportunity to attain membership in the Actor’s Equity
Association. Throughout this process, the student is under the professional supervision
of the Production Stage Manager for Yale Repertory Theatre.
Plan of Study: Stage Management
required sequence
Year Course Subject
I DRAM 6a/b Survey of Theater and Drama
DRAM 11b Founding Visions for Places in the Art
DRAM 40a/b Stage Management
DRAM 80a Stage Combat for Stage Managers
DRAM 100a/b Stage Management Seminar
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DRAM 102a Scene Design
DRAM 141b Law and the Arts
DRAM 149a Production Planning
DRAM 159a Theater Safety
DRAM 191b Managing the Production Process
DRAM 700a/b Stage Management Forum: The Artistic Process
Electives not suggested first year
II
DRAM 60a/b Advanced Stage Management
DRAM 80a Stage Combat for Stage Managers
DRAM 90b Lighting Design for Stage Managers
DRAM 158a Introduction to Sound Design
DRAM 189a Costume Production
DRAM 200a/b Stage Management Seminar
DRAM 249b Technical Management
DRAM 700a/b Stage Management Forum: The Artistic Process
Electives with chair approval only
III
DRAM 80a Stage Combat for Stage Managers
DRAM 90b Lighting Design for Stage Managers
DRAM 111a Functions of Leadership
DRAM 300a/b Stage Management Seminar
DRAM 349a Production Management: Organization
and Administration
DRAM 400a/b Advanced Principles of Stage Management
DRAM 500b The Stage Manager’s Thesis
DRAM 700a/b Stage Management Forum: The Artistic Process
At least one elective per term from suggested list with department
chair approval
required elective sequence
At least one elective per term from following list after consultation with department
chair. Any other elective needs chair’s approval. The sequence of this curriculum is sub-
ject to the course schedules of the various departments. The department chair may, at his
or her discretion, restructure an individual’s required curriculum to address any deficien-
cies in that student’s training.
DRAM 67a/THST 414a, Musical Book and Opera Libretti W
riting;
DRAM 77a,
Weekly Guest Seminars;
DRAM 115a, Costume Design: Background and Practice;
DRAM 119b, Electricity; DRAM 156a, American Classic Comedy Between the Wars;
DRAM 158b, Recording Arts; DRAM 169a, Shop T
echnology;
DRAM 169b, Stage Rigging
Techniques;
DRAM 198a, Sound Design Production Organization; DRAM 199b; Com-
puter Applications for the Technical Manager;
DRAM 209a, Physics of Stage Machinery;
DRAM 209b, Hydraulics and Pneumatics; DRAM 221b, Labor and Employee Relations;
and
DRAM 224a, Introduction to Projection and Video Design.
Courses of Instruction
DRAM 6a/b, Survey of Theater and Drama. See description under Dramaturgy and
Dramatic Criticism.
DRAM 11b, Founding Visions for Places in the Art. See description under Theater
Management.
DRAM 4oa/b, Stage Management. This fundamental course is designed to explore the
artistic and organizational techniques and practices of stage management. Topics cov-
ered include production preparation and management; collaborative relationships with
artistic, production, and administrative staff; development of individual stage manage-
ment style; issues of employment; and stress management. Through a series of work-
shops with Yale School of Drama faculty, a portion of this class provides instruction on
basic technical considerations and practice. Required for first-year stage managers. Mary
Hunter.
DRAM 6oa/b, Advanced Stage Management. An introduction to the Actors’ Equity
Association
LORT contract: practices and concerns. An emphasis of the class is on the
practical use and application of the contract, with particular focus on work rules. In addi-
tion, this course includes a comparative analysis of the
LORT rules and similar guidelines
as outlined in various other equity contracts. The direct study of these specific contract
agreements is also intended to lead to a candid ongoing discussion of practical realities
and principles crucial to the notion of professional stage management as a career.
James Mountcastle.
DRAM 67a/THST 414a, Musical Book and Opera Libretti Writing. See description
under Playwriting.
DRAM 77a, Weekly Guest Seminars. See description under Playwriting.
DRAM 8oa, Stage Combat for Stage Managers. This course is designed to prepare the
stage manager in the techniques of stage combat with emphasis on unarmed combat,
swordplay, weapon use and maintenance, and safety issues. The student explores meth-
ods of artistic collaboration and management skills utilized during the rehearsal process,
fight calls, and performance maintenance. Rick Sordelet.
DRAM 9ob, Lighting Design for Stage Managers. This course explores the artistic
process of the lighting designer with emphasis on creative development as well as tech-
nical preparation. Techniques and applications are developed through classroom discus-
sions and practical application. The focus is on exploring the professional working rela-
tionship and production process between the lighting designer and the stage manager.
Beverly Emmons.
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DRAM 1ooa/b, 2ooa/b, 3ooa/b, Stage Management Seminar. This seminar sequence
provides a forum for discussion of the stage management aspects of the concurrent pro-
ductions at Yale School of Drama and Yale Repertory Theatre, and allows tutorial guid-
ance for students who are serving as stage managers and assistant stage managers for
those productions. Alternates with production reviews and seminar topics led by guest
speakers from the industry. Mary Hunter.
DRAM 111a, Functions of Leadership. See description under Theater Management.
DRAM 115a, Costume Design: Background and Practice. See description under
Design.
DRAM 119b, Electricity. See description under Technical Design and Production.
DRAM 124a, Introduction to Lighting Design. See description under Design.
DRAM 141b, Law and the Arts. See description under Theater Management.
DRAM 149a, Production Planning. See description under Technical Design and Pro-
duction.
DRAM 156a, American Classic Comedy Between the Wars. See description under
Dramaturgy and Dramatic Criticism.
DRAM 158a, Introduction to Sound Design. See description under Sound Design.
DRAM 158b, Recording Arts. See description under Sound Design.
DRAM 159a, Theater Safety. See description under Technical Design and Production.
DRAM 169a, Shop Technology. See description under Technical Design and Pro-
duction.
DRAM 169b, Stage Rigging Techniques. See description under Technical Design and
Production.
DRAM 189a, Costume Production. See description under Technical Design and
Production.
DRAM 191b, Managing the Production Process. See description under Theater
Management.
DRAM 198a, Sound Design Production Organization. See description under Sound
Design.
DRAM 199b,
Computer Applications for the Technical Manager.
See description
under Technical Design and Production.
DRAM 2o9a, Physics of Stage Mac
hinery
.
See description under T
echnical Design and
Production.
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DRAM 2o9b, Hydraulics and Pneumatics. See description under Technical Design
and Production.
DRAM 221b, Labor and Employee Relations. See description under Theater Man-
agement.
DRAM 224a, Introduction to Projection and Video Design. See description under
Design.
DRAM 249b, Technical Management. See description under Technical Design and
Production.
DRAM 349a, Production Management: Organization and Administration. See
description under Technical Design and Production.
DRAM 4ooa/b, Advanced Principles of Stage Management. The focus of this course
centers on stage management for the commercial theater with emphasis on process and
current conditions in the industry as a whole. Topics covered include
AEA production
and
IATSE contracts, issues involving associated unions, and the development of inter-
personal relationships and the negotiation of conflict resolutions in the artistic process.
Laura Brown-MacKinnon, Diane DiVita.
DRAM 5oob, The Stage Manager’s Thesis. Each student must submit an appropriate
written or production thesis during the third year. Third-year students pursuing a pro-
duction thesis are responsible for three aspects in fulfilling the requirement: stage
manage a major production at Yale School of Drama or Yale Repertory Theatre; prepare
and submit the production book; and write an approved Acting Edition of the produc-
tion. Thesis production work at Yale Rep is assigned at the discretion of the department
chair.
Students pursuing a written thesis are required to research and critically analyze an
appropriate topic approved by the department chair. The document should show the stu-
dent’s mastery of critical thinking and writing as they pertain to some aspect of produc-
tion stage management. The proposed topic must be approved by the chair no later than
the beginning of the third year. The thesis is then developed under the guidance of the
department chair. After revision and the chair’s approval, the work must be evaluated and
critiqued by three approved independent readers. The final, bound edition of the writ-
ten thesis is considered by the faculty along with production work in determining
whether a degree should be granted. Mary Hunter.
DRAM 7ooa/b, Stage Management Forum: The Artistic Process. An exploration of
the artistic process through workshops and roundtable discussions led by guest speakers
and resident faculty. Mary Hunter.
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technical design and production
(m.f.a. and certificate)
Bronislaw Sammler, Chair
Contemporary theater design and production practices are profoundly influenced by the
technology and economics of our age. The diverse aesthetics and the increasingly com-
plex electronic and mechanical components now being used in the performing arts point
up the need for professionals who can understand and apply these technologies to the
achievement of artistic goals. The department seeks well-educated and highly motivated
students who will best be able to use the resources of Yale School of Drama, Yale Reper-
tory Theatre, and the University to expand their professional abilities and deepen their
professional interests in theater and the performing arts.
This program of study provides academic and practical training for professionals who
can perform with excellence in producing organizations, consulting firms, manufactur-
ing companies, and universities. The exceptional placement record of graduates who
have trained in the unique environment offered by Yale School of Drama/Yale Repertory
Theatre emphasizes the career value of the graduate program of study.
Technical management requires a wide range of skills and knowledge. The depart-
ment’s sequence of required courses focuses on certain key principles of the physical and
social sciences and their application to performing arts technology. Concurrently, with
the required sequence, each student pursues a sequence of elective courses that leads to
a concentration in Technical Direction, Production Management, Stage Machinery
Design and Automation, or Theater Planning and Consulting. Degree candidates also
prepare a research thesis in their chosen area of concentration.
To assure complete training, the department maintains a faculty and staff of thirty-
five, whose courses cover a wide range of topics including production management,
lighting and sound technology, mechanical design, automation, structural design,
acoustics, theater engineering, computer applications, show control, Auto
CAD, and
technical writing. In addition, the department’s weekly seminar regularly features guest
lectures by noted professionals. Students are encouraged to augment their studies with
courses from other departments in Yale School of Drama and from other schools at Yale
University including Architecture and Management or the Faculty of Engineering.
Finally, to afford students the opportunity to develop and test newly developed skills,
the department requires that each student complete a series of production assignments
at Yale School of Drama and Yale Repertory Theatre. Individually tailored to each stu-
dent’s skills and professionals goals, the production assignments represent a sequence of
increasing demands on a production team.
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Plan of Study: Technical Design and Production
required sequence
Year Course Subject
I D
RAM
6a/b Survey of Theater and Drama
DRAM 109a/b Structural Design for the Stage
DRAM 119b Electricity
DRAM 129b History of Theater Architecture
DRAM 149a Production Planning
DRAM 159a Theater Safety
DRAM 169a Shop Technology
DRAM 169b Stage Rigging Techniques
DRAM 179a Production Drafting
DRAM 199b Computer Applications for the Technical Manager
Two electives
Three production assignments
II
DRAM 209a Physics of Stage Machinery
DRAM 249b Technical Management
DRAM 269b Technical Design
DRAM 299a Technical Writing and Research
Seven electives
Three production assignments*
III DRAM 349a Production Management: Organization
and Administration
DRAM 399b Technical Design and Production Thesis
Five terms of elective sequence courses
Two production assignments*
elective sequence
The elective sequence is determined in consultation with a department adviser and
allows each student reasonable flexibility in selecting specific courses in a chosen area of
concentration.
Courses of Instruction
DRAM 6a/b, Survey of Theater and Drama. See description under Dramaturgy and
Dramatic Criticism.
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*Second- or third-year students may request the substitution of a substantial project for one production assignment.
DRAM 69a, Welding Technology. A course teaching the fundamentals and applications
of all electric arc welding techniques (
TIG, MIG, STICK) as well as brazing and solder-
ing. Emphasis is on welding practice of metals including: steel, aluminum, brass, copper,
etc.; joining dissimilar metals; fixturing; and evaluating the appropriate process for an
application. The majority of class time is spent welding, brazing, or soldering. Six stu-
dents maximum. Five hours a week. David Johnson.
DRAM 69b, Mechanical Instrumentation. A course geared for both the arts and sci-
ences that goes beyond a basic introductory shop course, offering an in-depth study uti-
lizing hands-on instructional techniques. Surface finishes and tolerances versus cost and
time, blueprint reading, machineability of materials, feeds and speeds, and grinding of
tools are discussed and demonstrated. Four hours a week. David Johnson.
DRAM 89a, Costume Construction. A course in costume construction for designers
and technicians with hands-on practice in both machine and hand sewing. Various forms
of patterning (draping, flat drafting, etc.) are also covered. Advanced students may elect
to undertake patterning and construction projects using Yale School of Drama’s antique
costume collection. Two hours a week. Robin Hirsch.
DRAM 99a/b, Internship Practicum. Interns are required to successfully complete two
terms of practicum in their area of concentration. Thirty hours a week. Area supervisor.
DRAM 1o9a/b, Structural Design for the Stage. This course concurrently develops
the precalculus mathematics and physical sciences requisite for advanced study in
modern theater technology, and concentrates on the application of statics to the design
of safe scenic structures. Assignments relate basic principles to production applications.
Two hours a week. Bronislaw Sammler.
DRAM 119b, Electricity. This course presents the basic theoretical and practical optics,
electricity, and electronics of lighting instruments, dimmers, projectors, and special
effects needed to function as a master electrician. Emphasis is placed on relevant portions
of the National Electrical Code. Two hours a week. Alan Hendrickson.
DRAM 129b, History of Theater Architecture. Mainly a survey of European and
American theater architecture as it relates to cultural and technological changes through
time, this course uses the writings of current and past authorities on such subjects as
acoustics, space layout, and decoration to illustrate and evaluate these buildings’ many
variations. Two hours a week. Alan Hendrickson.
DRAM 139a, Introduction to Sound Engineering and Design. This course provides
students with the basic skills and vocabulary necessary to perform as sound engineers and
sound designers. Students are introduced to standard sound design practice, associated
paperwork for implementation, production design tools, acoustic assessment tools, and
sound delivery systems addressing both conceptual and sound reinforcement design.
This is accomplished through practical assignments, production reviews, and conceptual
design projects. Three hours a week. Brian MacQueen.
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DRAM 149a, Production Planning. An introduction to production planning. Topics
include cost and time estimating, and scheduling, for all phases of production. One and
one-half hours a week. Bronislaw Sammler.
DRAM 159a,Theater Safety. An introduction to theater safety and occupational health.
Topics include chemical and fire hazards, accident and fire prevention, code require-
ments, emergency procedures, and training and certification in first aid and
CPR. One
and one-half hours a week. William Reynolds.
DRAM 169a, Shop Technology. This course serves as an introduction to the scene
shops and technology available at Yale School of Drama. Traditional and modern mate-
rials, construction tools and techniques, and shop organization and management are
examined in the context of scenic production. Class projects are tailored to each student’s
needs. Three hours a week plus a three-hour lab. Joshua Peklo.
DRAM 169b, Stage Rigging Techniques. This course introduces students to tradi-
tional and nontraditional rigging techniques. Equipment discussed includes counter-
weight and mechanical rigging systems and their components. Class format is both lec-
ture and lab with written and practical projects assigned to further the student’s
understanding. Two hours a week. Joshua Peklo.
DRAM 179a, Production Drafting. This course develops the skills necessary for effec-
tive and efficient graphic communication between the technical designer and shop staff.
Emphasis is placed on graphic standards, notation, plan and section drawings, and the
translation of designer plates to shop drawings. Students develop these techniques
through sketching, applying the fundamental aspects of Auto
CAD, and projects executed
under classroom supervision. Three and one-half hours a week. Joshua Peklo.
DRAM 189a, Costume Production. This course examines the processes involved in the
realization of a complete set of costume designs, from the drawing board to the stage.
Focus is on shop organization and the functions of the designer, assistant designer, and
costume production staff, with emphasis on budgeting, scheduling, fabrics, tools, and
equipment. Two hours a week. Thomas McAlister.
DRAM 189b, Fabric and Fabric Manipulation. This course explores the aesthetics and
performance characteristics of fabrics commonly used for the stage, and how to go about
choosing a successful apparel fabric. It examines the basic properties of natural and syn-
thetic fibers: weaves and texture, pattern and scale, drape, memory, hand, finish, and cost.
T
ime is spent exploring fabrics under stage lighting and in the context of our perfor
-
mance venues. One and one-half hours a week. Thomas McAlister.
DRAM 199b, Computer Applications for the Technical Manager. This course devel-
ops proficiency in spreadsheeting, word processing, desktop publishing, and database
development. Its ultimate aim, however
, is to enable students to apply the most appro
-
priate type of software in undertaking the various tasks of technical management. As time
allows, the course explores other types of software such as illustration and project man-
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agement applications. Limited enrollment. Three and one-half hours a week. Don
Harvey.
DRAM 2o9a, Physics of Stage Machinery. This course introduces Newtonian mechan-
ics as an aid in predicting the behavior of moving scenery. Theoretical performance cal-
culations are developed to approximate the actual performance of stage machinery.
Topics include electric motors, gearing, friction, and ergonomics. Two hours a week.
Alan Hendrickson.
DRAM 2o9b, Hydraulics and Pneumatics. Discussions of concepts and components
begun in
DRAM 209a are continued for fluid power systems. Topics include hydraulic
power unit design, the selection and operation of electro-hydraulic proportional valves,
load lifting circuits using counterbalance valves, and pneumatic system design. A major
emphasis is placed on the practical aspects of component selection, especially for
hydraulic cylinders, hose, and fittings. Two hours a week. Alan Hendrickson.
DRAM 229a, Theater Planning and Construction. This course is an introduction to
planning, design, documentation, and construction of theaters, concert halls, and simi-
lar spaces. Emphasis is placed on the role of the theater planning consultant in functional
planning and architectural design. The goal is to introduce the student to the field and
provide a basic understanding of the processes, concerns, and vocabulary of theater plan-
ning. Two hours a week. Eugene Leitermann.
DRAM 249b, Technical Management. This course discusses application of manage-
ment techniques and organizational principles to technical production. Emphasis is
placed on leadership and interpersonal skills as well as on organization, planning, and
facilities utilization. Assignments provide further exploration of related topics in the
form of written and/or presented material. Three hours a week. William Reynolds.
DRAM 269b, Technical Design. This course examines the technical design process in
the development of solutions to scenery construction projects. Solutions, utilizing tradi-
tional and modern materials and fabrication techniques, are studied from the aspects of
budget, safety, and structural integrity. Three hours a week. Bronislaw Sammler.
DRAM 279b, Advanced AutoCAD. An in-depth study of AutoCAD leading to greater
productivity with the software. Proficiency in 2-
D drafting and 3-D modeling and draft-
ing as they apply to technical design is developed through project work. Additional topics
include the Auto
CAD database, customizing the drafting environment, hardware issues,
and related software packages. Prerequisite:
DRAM 179a or permission of the instructor.
Two hours a week. Joshua Peklo.
DRAM 289b, Patternmaking. This class is an exploration of costume history through
the three-dimensional form. Each week students drape and/or draft a garment from a
specific period from primitive
“T” shapes to mid-twentieth-century patterns. Two hours
a week. Robin Hirsch.
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85
DRAM 299a, Technical Writing and Research. Research and coherent writing tech-
niques are reviewed and practiced to develop a command of prose as a means of techni-
cal exposition and commentary. Students complete several comparative assignments to
assist them in thesis preparation and write at least one article for the Technical Brief pub-
lication. Three hours a week. Don Harvey.
DRAM 3o9a, Mechanical Design for Theater Applications. This course focuses on
the process of mechanical design for temporary and permanent stage machinery. Design
considerations and component selections are examined through lectures, discussions,
assignments, and project reviews. Other topics include motion control, fluid power cir-
cuit design, and industrial standards. Three hours a week. Alan Hendrickson.
DRAM 319a, Automation Control. Designing and constructing control systems for
mechanized scenery involves theoretical and practical work in electrical power distribu-
tion, switching logic, electronics, and software programming. The material covered in
lectures and numerous lab sessions progress from simple on-off electrical control, to
relay logic, motor speed control, and finally full positioning control. Class topics include
motor starters, open collector outputs, power supplies,
PLC ladder programming, and
AC motor drives. Three and one-half hours a week. Alan Hendrickson.
DRAM 329a, Theater Engineering: Lighting, Sound, Video, and Communication
Systems.
This course introduces the basic concepts of the design of lighting, sound,
video, and communication systems and infrastructure within the context of the overall
design of performing arts facilities. Topics covered include programming and budgeting
equipment systems, code requirements, and integration with other building systems.
The student develops and details basic equipment systems within a building envelope
provided by the instructor. Two hours a week. Tim Hunter, Howard Rose.
[
DRAM 329b,Theater Engineering: Overhead Rigging and Stage Machinery. This
course introduces the basic concepts of the design of overhead rigging and stage machin-
ery systems and infrastructure within the context of the overall design of performing arts
facilities. Topics covered include programming and budgeting equipment systems, code
requirements, and integration with other building systems. The student develops and
details basic equipment systems within a building envelope provided by the instructor.
Two hours a week. Not offered in 2006–2007.]
[
DRAM 339a,Architectural Acoustics. This course is both an introduction to the basic
principles and terminology of acoustics and a survey of the acoustics of performance
venues, with an emphasis on theaters. The course covers physical acoustics, room
acoustics, psychoacoustics, electroacoustics, sound isolation, and noise and vibration
control. The goals are to furnish the student with a basic background in acoustical theory
and practice, and to provide an understanding of the acoustical priorities in various per
-
formance spaces and the basics of achieving those needs. T
wo hours a week. Not offered
in 2006–2007.]
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DRAM 349a, Production Management: Organization and Administration. This
course deals with the basic organizational structures found in not-for-profit and limited-
partnership commercial ventures. Students explore patterns of responsibility and
authority, various charts of accounts and fiscal controls, estimating techniques, budget-
ing, and scheduling. Discussions include a variety of theatrical organizations, their artis-
tic policies, and different processes and products that result. Two hours a week. Elisa
Padula Cardone.
DRAM 389a, Properties Design and Construction. Through lectures and demon-
strations, students study design and fabrication of stage properties. Assignments encour-
age students to develop craft skills and to explore the application of traditional and new
techniques to production practice. Three hours a week. Hunter Spence.
DRAM 389b, Mask Design and Construction. A studio class exploring the problems
in designing and constructing masks for the stage. Students fabricate masks using mate-
rials such as celastic, latex, feathers, and fabrics. Three hours a week. Hunter Spence.
DRAM 399b, Technical Design and Production Thesis. Each student develops a
thesis dealing with a production or planning oriented subject. By the end of the second
year, a thesis proposal is submitted for departmental review. Following topic approval,
the thesis is researched under the guidance of an approved adviser, and a complete draft
is submitted five weeks prior to graduation. After revision and adviser’s approval, the
work is evaluated and critiqued by three independent readers. Following revisions and
departmental approval, two bound copies are submitted. Two-hour advisory and tutor-
ial meetings every other week. Don Harvey.
DRAM 419b, Control Systems for Live Entertainment. The rapidly developing field
of “show control” is the focus of this course. Show control is the convergence of enter-
tainment, computing, networking, and data communication technologies. Topics cov-
ered include data communication and networking principles; details of entertainment-
specific protocols such as
DMX512, MIDI, MIDI Show Control, MIDI Machine Control,
and
SMPTE Time Code; and practical applications and principles of system design. Two
hours a week plus a two-hour lab. John Huntington.
DRAM 429b,Theater Planning Seminar. This course is a continuation of DRAM 229a,
Theater Planning and Construction, concentrating on the renovation or rehabilitation
of existing buildings for performing arts use, and on design work by teams of students.
The term-long design project provides students the opportunity to apply knowledge
acquired in
DRAM 329a, DRAM 329b, and DRAM 339a, although these courses are not
prerequisites. Several visiting lecturers join the class to discuss theater planning topics.
Two hours a week. Eugene Leitermann.
DRAM 449a/b, Independent Study. Students who want to pursue special research or
the study of topics not covered by formal courses may propose an independent study
.
Following department approval of the topic, the student meets regularly with an adviser
to discuss progress and to seek tutorial advice. Credit for independent study is awarded
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echnical Design and Production
87
by the department, based on the project adviser’s recommendation. Tutorial meetings to
be arranged. Faculty and staff.
DRAM 469b, Scenery Construction for the Commercial Theater. This course exam-
ines construction techniques and working conditions in union scene shops servicing the
Broadway theater industry. Field trips to several shops in the New York area and back-
stage tours of the shows being discussed in class are included. An important aspect of all
assignments is an in-depth discussion of the transition from designer’s drawings to shop
drawings, construction in the scene shop, and eventual set-up in the theater. Two hours
a week. Chuck Adomanis, John Boyd.
DRAM 489a/b, Advanced Patternmaking. This course clarifies the process by which a
costume design goes from a rendering to a three-dimensional form for the stage. Stu-
dents select a text, and then research and render a costume design for one character. Rig-
orous draping and flat-patterning techniques, as well as proper cutting, stitching, and
fitting methods, are applied to create the elements of a period silhouette, from the foun-
dation garments to the outer apparel. Student actors participate as models to deepen and
heighten the understanding of the journey from sketch to stageworthy clothing. Two
hours a week. Thomas McAlister.
theater management (m.f.a.)
Edward Martenson, Chair
The Theater Management department prepares aspiring leaders and managers to create
organizational environments increasingly favorable to the creation of theater art and its
presentation to appreciative audiences. Recognizing that there is no substitute for expe-
rience, the department provides students with the knowledge, skills, and values to enter
the field at high levels of responsibility, to move quickly to leadership positions, and ulti-
mately to advance the state of management practice and the art form itself.
Although the focus is on theater, some graduates have adapted their education suc-
cessfully to careers in dance, opera, media, and other fields.
In the context of an integrated management perspective, students are grounded in the
history and aesthetics of theater art, production organization, hiring and unions, the col-
laborative process, decision making, organizational direction, motivation, organizational
design, human resources, financial management, development, marketing, and technol-
ogy. The Theater Management program focuses primarily on theater organizations, but
incorporates discussions of other performing arts organizations, other nonprofits, and
for-profit organizations to help identify the factors that make theater organizations suc-
ceed as meeting grounds for artists and audiences. It is training in the practice, supple-
mented with up-to-date theoretical knowledge.
The training program combines a sequence of departmental courses, approved elec-
tives in other departments and schools, topical workshops, a case study writing require-
ment, and professional work assignments. In a distinctive feature of the Theater Man-
agement curriculum, students are involved in the management of Yale Repertory
Theatre from the beginning of their training, as well as in collaboration with students
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and faculty from other departments in productions of Yale School of Drama and Yale
Cabaret.
In the first year a student enrolls in seven departmental courses per term, one of
which consists of a case study on a particular theater organization; attends a variety of
topical workshops; and is given professional work assignments in a number of operating
positions on a rotating basis.
In the second year the student enrolls in five departmental and elective courses per
term, attends a variety of topical workshops, and is given two term-long professional
work assignments of increased responsibility. In another distinctive feature of the The-
ater Management curriculum, the second-year student has the option of replacing one
term in residence with a fellowship in a professional setting away from the campus,
selected by the faculty.
The final year of the program is designed to be a culmination of the student’s formal
education and to begin a transition into the profession. The student enrolls in four
departmental and elective courses per term, attends a variety of topical workshops, and
is given a yearlong professional work assignment of high responsibility. Occasionally a
student chooses to write in-depth case studies in lieu of the third-year professional work
assignment.
The Theater Management department offers a joint-degree program with Yale
School of Management, in which a student may earn both the Master of Fine Arts and
Master of Business Administration degrees in four years (rather than the five years that
normally are required). A joint-degree student must meet the respective admission
requirements of each school. The typical plan of study consists of two years at Yale
School of Drama, followed by one year at the School of Management, culminating with
one combined year at both schools. Generally, students have until the beginning of their
second year at the School of Drama to decide whether they are interested in the joint-
degree option.
Plan of Study: Theater Management
Students are required to complete twenty-four required courses (including the case
study writing requirement), eight approved electives from other departments and
schools, a variety of topical workshops, and professional work assignments. (For students
opting for the second-year fellowship, the course requirements are reduced to twenty-
three departmental courses and four electives.)
required sequence
Year Course Subject
I DRAM 6a/b Survey of Theater and Drama
DRAM 11a Theater Organizations
DRAM 11b Founding Visions for Places in the Art
DRAM 111a/b Functions of Leadership
DRAM 121a Human Resources Policies and Practices
DRAM 131a Principles of Marketing and Communications
DRAM 141b Law and the Arts
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DRAM 151b Case Study
DRAM 161a Principles of Development
DRAM 181a Financial Accounting
DRAM 181b Financial Management
DRAM 191b Managing the Production Process
II & III
DRAM 201a/b & Management Seminar
†
DRAM 301a/b
DRAM 211a Governance
DRAM 221b Labor and Employee Relations
DRAM 231b Advanced Topics in Marketing
DRAM 241a Contracts
DRAM 251a or b Management Fellowship
DRAM 261b Advanced Topics in Development
DRAM 281b Advanced Financial Management
DRAM 351a/b Case Studies
elective sequence
Eight electives approved by the chair, selected from other departments of Yale School of
Drama, from Yale School of Management or other professional schools, or from Yale
College. One elective must be either
DRAM 149a, Production Planning, or DRAM 349a,
Production Management. One must be an additional course in dramatic literature or
criticism in the Dramaturgy department. Among other electives for consideration are
DRAM 40a/b, Stage Management; DRAM 102a/b, Scene Design; DRAM 115a/b, Cos-
tume Design;
DRAM 124a/b, Introduction to Lighting Design; DRAM 129b, History of
Theater Architecture;
DRAM 159a, Theater Safety; MGT 527, Strategic Management of
Nonprofit Organizations;
MGT 623, Strategic Leadership Across Sectors; MGT 887,
Negotiation;
MGT 888, Emotional Intelligence at Work.
Courses of Instruction
DRAM 6a/b, Survey of Theater and Drama. See description under Dramaturgy and
Dramatic Criticism.
DRAM 11a, Theater Organizations. Societies need organizations to bring artists and
audiences together to experience theater art. Historically—in contrast to the art itself,
which is immutable—the various organizational forms have proved to be fragile: some
have lasted for hundreds of years, but each of them eventually has failed and been
replaced. Seventy-five years ago the commercial form began to decline in output; fifty
years ago the nonprofit organization form was adapted to serve civic needs in a rapidly
decentralizing America and developmental needs of the art and artists. The course
explores the variety of organizational models in use today with an eye to identifying the
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†Second- and third-year students must attend the Management Seminar during each term.
patterns of purposes, values, structures, and policies they adopt to guide their operations.
Each student collects in-depth information about a particular organization and presents
it to the class. Edward Martenson.
DRAM 11b, Founding Visions for Places in the Art. This course is a documentary his-
tory of the American art theater in the words of its visionaries and pioneers. The history
is explored through the inspired and inspiring writings of the founders themselves, from
Jane Addams (Hull House, 1880s) to Bill Rauch (Cornerstone, 1980s). Students
encounter the letters, memoirs, and manifestoes of such early figures as Jig Cook and
Susan Glaspell (Provincetown), John Houseman/Orson Welles (Mercury Theatre), and
Hallie Flanagan (Federal Theatre Project), and more recent leaders like Margo Jones,
Zelda Fichandler, Joe Papp, Judith Malina and Julian Beck, Douglas Turner Ward,
Joseph Chaikin, Luis Valdez, Herbert Blau, Robert Brustein, Tyrone Guthrie, Charles
Ludlam, and many more. Students are expected to research primary source material,
prepare oral reports on theaters and founders, and have the option of envisioning/plan-
ning theaters of their own. Todd London.
DRAM 111a/b, Functions of Leadership. Management and leadership are two different
things, and managers must be capable of practicing both in order to meet the increas-
ingly complex challenges of modern theater organizations; the required knowledge and
skills operate side by side. The course covers the essential functions of leadership: estab-
lishing organizational direction through mission and strategy; securing the essential
efforts through effective motivation and productive management of change; and estab-
lishing appropriate means of communication through organizational design, including
decision making and management of culture. The two halves of this course are sequen-
tial, but second- and third-year students need not enroll in them back to back. Edward
Martenson.
DRAM 121a, Human Resources Policies and Practices. Effective human resource
strategy and planning are essential to managing a successful organization. This course
explores employee relations and communications, employee development and evalua-
tion, negotiation, counseling, team building, and problem solving. Specific focus is
placed on human resources as it is currently practiced and communicated in the Ameri-
can regional theater. Victoria Nolan.
DRAM 131a, Principles of Marketing and Communications. This survey course
explores the fundamentals of not-for-profit theater marketing and communications.
Topics include segmentation, positioning, branding, developing the creative, budgeting,
pricing, revenue projections, packaging, and campaign planning. A practical guide to
several campaign tactics is also covered. Students learn to develop a basic marketing plan.
Anne Trites.
DRAM 141b, Law and the Arts. An examination of the legal rights and responsibilities
of artists and artistic institutions. Topics include the law of intellectual property (copy-
right and trademark), moral rights, personality rights (defamation, publicity, and pri-
vacy), and freedom of expression. The course is also an introduction to the structure and
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language of contractual agreements, and includes discussion of several types of contracts
employed in the theater. Other legal issues relating to nonprofit arts organizations may
also be discussed. Joan Channick.
DRAM 151b, Case Study. An independent writing project under the supervision of a
faculty adviser. The student focuses on a particular theater organization assigned by the
faculty, by gathering information, conducting interviews, analyzing the organization’s
conditions and issues, writing a case study with video supplement, writing an analytical
note, and leading a discussion of it in the Management Seminar. The bulk of the work
should be completed by the end of the student’s first year, and the written case study must
be completed to the satisfaction of the faculty adviser and chair prior to the beginning of
the student’s third year. The class discussion may occur in the third year. Joan Channick,
Patricia Egan, Greg Kandel, Edward Martenson, Victoria Nolan, Anne Trites.
DRAM 161a, Principles of Development. This introductory course explores the
requirements for setting up a development department, and the responsibilities and
practical applications of the development process, from capital campaigns, identifying
donor prospects, board development, and proposal writing. Students are introduced to
all aspects of development: individual giving and donor solicitation, corporate sponsor-
ship as well as corporate philanthropy, government, foundations, and events. Barbara
Groves.
DRAM 181a, Financial Accounting. An introduction to corporate financial accounting
concepts and procedures, with an emphasis on nonprofit application. Financial state-
ments are stressed throughout the course, while attention is paid to developing proce-
dural skills, including accounting controls. The basic financial statements are intro-
duced: balance sheet, income statement, and statement of cash flows. Accounting for
assets, liabilities, and net assets. Faculty.
DRAM 181b, Financial Management. A study of the broad role of financial manage-
ment in the realization of organization goals. Topics include defining capital structure
and financial health; developing, monitoring, and reporting on operating and capital
budgets; financial analysis and planning; cash flow; and risk management. Prerequisite:
DRAM 181a. Patricia Egan.
DRAM 191b, Managing the Production Process. An investigation of the relationship
between the artistic director and the managing director. This course explores the role of
a managing director in the production process of regional theater, including season plan-
ning, artistic budgeting, contract negotiations, artist relationships, and production part-
nering. Victoria Nolan.
DRAM 2o1a/b, Management Seminar. An upper-level seminar designed to integrate
knowledge and skills gathered from all courses and professional work, primarily through
analysis and discussion of case studies. Second- and third-year theater management stu-
dents must enroll during all terms in residence; the course also is open to others who
have completed
DRAM 11a/b. Edward Martenson.
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DRAM 211b, Governance. This course examines governance within arts organization
with a strong emphasis on its practice, as well as how that practice can be managed and
adjusted. The first part of each class consists of interactive presentations using real exam-
ples from multiple organizations in the field, or case work focused on one particular
company. The second part is a laboratory in which students use the concepts learned to
prepare and present their findings to the rest of the class. Greg Kandel.
DRAM 221b, Labor and Employee Relations. A seminar on how to read collective
bargaining agreements and think about the collective bargaining process in the not-
for-profit theater through the study of the agreement, along with negotiation of the
agreement and practice under it, between the League of Resident Theatres and Actors’
Equity Association. Comparisons are made to
LORT’s agreements with other artist and
technical unions. Admission to nondepartmental students by permission only. Harry
Weintraub.
DRAM 231b, Advanced Topics in Marketing. This course focuses on a variety of
advanced marketing topics. Some case discussion is included. Prerequisite:
DRAM 131a.
Anne Trites.
DRAM 241a, Contracts. A seminar on how to read, write, and administer individual
employment contracts. Each student creates employment and separation agreements for
the managing director of a not-for-profit theater. Harry Weintraub.
DRAM 251a or b, Management Fellowship. Each second-year student has the option
of replacing one term in residence with a fellowship in a professional setting away from
the campus, selected by the faculty. The fellowship replaces one required departmental
course, four electives, and a term-long professional work assignment. The purpose of the
fellowship is to pair the student with a highly successful manager in the field who acts as
mentor and role model. Ideally, the fellowship consists of frequent meetings with the
host mentor, the opportunity to shadow the mentor in meetings with board and staff,
access to board and staff meetings, and assigned tasks to perform within the organization.
The host organization is chosen primarily for the appropriateness of the mentor/mentee
pairing rather than to advance the student’s interest in a particular kind of work or career.
The student is required to submit a written report on the fellowship, but the fellowship
and case study writing requirement(s) (
DRAM 151b and DRAM 351a/b) may not be com-
bined. Faculty.
DRAM 261b, Advanced Topics in Development. Case studies and practical applica-
tions in corporate sponsorship, board development, major gifts, and international proj-
ects are investigated. The emphasis in the course is on the importance of creativity and
innovation in the field of development. Prerequisite:
DRAM 161a. Barbara Groves.
DRAM 281b, Advanced Financial Management. This course on more advanced finan-
cial management topics focuses on building students’ interpretive financial skills. T
opics
include capital structure and financial analysis, financing and debt structures, invest
-
ments and cash management, facilities projects, planning to achieve financial goals, and
managing through financial difficulties. The course includes some case discussions. Pre-
requisite:
DRAM 181b. Patricia Egan.
DRAM 3o1a/b, Management Seminar. See description under DRAM 201a/b.
DRAM 351a/b, Case Studies. Independent third-year writing projects under the super-
vision of a faculty adviser, similar to
DRAM 151b; only for students who do not have a pro-
fessional work assignment. The student focuses on two complementary theater organi-
zations chosen with approval of the chair, and involves gathering information,
conducting interviews, analyzing each organization’s conditions and issues, writing case
studies with video supplements, and leading discussion of the cases in the Management
Seminar. The work should begin prior to the student’s third year and be completed to
the satisfaction of the faculty adviser and chair by April 1 of the student’s third year.
Joan Channick, Patricia Egan, Greg Kandel, Edward Martenson, Victoria Nolan, Anne
Trites.
theater management department topical workshops and
modules
The Actor’s Life. One three-hour session. Guest.
The Designer’s Life. One three-hour session. Guest.
The Director’s Life. One three-hour session. Guest.
The Playwright’s Life. One three-hour session. Guest.
Analyzing Field Needs and Designing Policy. Two three-hour sessions. Ben Cameron.
History of Theater Management. One three-hour session. Marion Koltun Dienstag.
Commercial Theater. Five three-hour sessions. Rocco Landesman and guests.
Repertory. One three-hour session. Guest.
The Manager’s Relationship with Art and Artists. One three-hour session. Rob
Orchard.
Leadership. Four three-hour sessions. Laura Freebairn-Smith.
Crisis Management. One three-hour session. Guest.
Decision Support: Gathering and Using Information. Four three-hour sessions.
Steven Wolff.
Deferred Giving. One three-hour session. Guest.
Negotiating the Major Gift. One three-hour session. Guest.
Graphic Design Applications. One three-hour session. Randall Rode.
Network Access and Applications. One three-hour session. Randall Rode.
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Ticketing and Database Applications. Three three-hour sessions. Randall Rode.
Web Technologies. One three-hour session. Randall Rode.
Taxation. One three-hour session. Guest.
UBIT. One three-hour session. Guest.
technical internship program
(internship certificate)
The Technical Design and Production department offers a one-year technical internship
program for those seeking to become professional shop carpenters, sound engineers,
properties masters, scenic artists, costumers, or master electricians. This training pro-
gram combines six graduate-level courses with closely guided and monitored practical
work.
A faculty or staff adviser guides each student in selecting three courses each term in
his or her particular area of concentration. Most courses offered as part of the depart-
ment’s three-year
M.F.A. program of study are open to one-year technical interns. The
courses cover a wide range of topics, including properties construction, shop technology,
theater safety, electricity, sound technology, scene painting, costume construction, pat-
ternmaking, machining, rigging, and Auto
CAD. Interns receive individual attention,
training, and supervision from their department advisers and work side-by-side with Yale
School of Drama and Yale Repertory Theatre’s professional staff.
Those who successfully complete the program of study receive an Internship
Certificate during Yale School of Drama’s May commencement ceremonies. Some of
those who complete the program subsequently enroll in the three-year
M.F.A. program
of study in Technical Design and Production, receiving credit toward the degree for
requirements already taken. Those who choose to enter the job market receive individ-
ual assistance from the School of Drama Registrar’s Dossier Service. Our alumni provide
many job opportunities for professionally trained theater technicians.
Courses of Instruction
See course listings and descriptions under Technical Design and Production (M.F.A. and
Certificate).
special research fellow status
Each year, a limited number of scholars are admitted to Yale School of Drama as one-
year special research fellows. These fellows are usually professionals in the field of the
-
ater from abroad who wish to pursue research and audit one or two courses a term within
the School of Drama. T
uition for these fellows is one-half that charged a full-time stu-
dent. The research and auditing of courses is arranged in consultation with the appro
-
priate department chair and the registrar. Fellows are not eligible for Yale Health Plan
(
YHP) Basic Coverage. They should contact YHP Member Services (203.432.0246) to
S
pecial Research Fellow Status
95
inquire about available coverage options. There is no fellow status affiliated with the
Acting and Playwriting departments.
special student status
Each year, some students are admitted to Yale School of Drama as one-year special stu-
dents in the departments of Design; Sound Design; Dramaturgy and Dramatic Criti-
cism; Technical Design and Production; or Theater Management. These students must
be in residence on a full-time basis and are not eligible for a degree or certificate. The
curriculum for special students is arranged in consultation with the appropriate chair.
Tuition is the same as for degree candidates. Special students are not eligible for Yale
Health Plan (YHP) Basic Coverage. They need to contact YHP Member Services
(203.432.0246) to inquire about available coverage options.
Special students may apply for admission to the department’s degree program of
study in February of their one-year residency. They must comply with Yale School of
Drama’s admission requirements and, if admitted, matriculate as second-year students.
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Tuition and General Expenses
The tuition fee for 2006–2007 is $23,610.* A reasonable estimate of costs to be incurred
by a student attending Yale School of Drama and living off campus in the 2006–2007
academic year is between
$36,910 and $38,310. It includes:
Tuition (library, laboratory, gymnasium, health
and accident, and graduation fees) $23,610
Books and supplies (estimated)
†
300–1,700
Estimated living expenses (includes hospitalization fee) 13,000
Students who have completed the residence requirements but who wish to remain in
New Haven to work on their theses and to use University facilities are charged a resi-
dency fee of
$1,000 per year. This amount does not include the University Health Ser-
vices fee.
Students may receive a waiver of the hospitalization fee from the Yale Health Plan upon
evidence that they have valid and sufficient alternative hospitalization coverage.
The living expenses estimate is based on the Bureau of Labor Statistics moderate
budget standard for this area. The Yale School of Drama also reviews the actual budgets
each year to verify that the living expense budget used is reasonable. Actual costs may
vary depending on the individual. As educational costs have risen consistently over the
past few years, it is safe to assume that costs for the 2007–2008 academic year will be
higher.
general expenses
Housing
The Graduate Housing Department has dormitory and apartment units for a small
number of graduate and professional students. The Graduate Dormitory Office provides
dormitory rooms of varying sizes and prices for single occupancy only. The Graduate
Apartments Office provides unfurnished apartments consisting of efficiencies and one-,
two-, and three-bedroom apartments for singles and families. Both offices are located in
Helen Hadley Hall, a graduate dormitory at 420 Temple Street, and have office hours
from 9
a.m. to 4.30 p.m., Monday through Friday.
Applications for 2006–2007 are available as of April 1 online and can be submitted
directly from the W
eb site (www
.yale.edu/graduatehousing). For new students at the
University, a copy of the letter of acceptance from Yale will need to be submitted to the
address on the application form. The W
eb site is the venue for graduate housing infor
-
mation and includes procedures, facility descriptions, floor plans, and rates. For more
dormitory information, contact grad.dorms
@
yale.edu, tel. 203.432.2167, fax 203.432.
*Tuition for students in the Technical Internship program and for Special Research Fellows is $11,805. Tuition
for D.F.A. candidates in residence is $1,000.
†Costs vary from one department to another.
4578. For more apartment information,contactgrad.apts
@
yale.edu, tel. 203.432.8270, fax
203.432.0177.
The University’s Off-Campus Housing service, limited to current or incoming
members of the Yale community, is located at 155 Whitney Avenue, 3d floor, and is open
from 8.30
a.m. to 3.30 p.m., Monday through Friday. The listings may also be accessed
from any computer at Yale at www.yale.edu/offcampushousing.
Dining at Yale
Yale University Dining Services has tailored its services to meet the particular needs of
graduate and professional school students by offering meal plan options that allow flexi-
bility and value. The graduate meal plan offers meal service at the Hall of Graduate Stud-
ies and Commons Dining Hall for ten meals per week, plus four guest passes per year,
and “Eli Bucks” to be spent at the client’s leisure. Additional Eli Bucks can be purchased
at a discount through Yale University Dining Services. A favorite choice, Eli Bucks oper-
ate as a declining balance and are accepted in all campus locations in lieu of cash.
Yale University Dining Services locations are a popular option for all members of the
Yale community. In addition to Commons and the Hall of Graduate Studies, the follow-
ing retail locations are available: A&A Penthouse at the School of Architecture, Divinity
School Café on Prospect Street, the Café at Kline Biology Tower, Donaldson Commons
at the School of Management, and Durfee’s, a traditional convenience store offering
coffee, snacks, and sandwiches among other items. For students choosing to dine in any
of Yale’s residential college dining rooms, “all-you-care-to-eat” meals are offered for one
low price for breakfast, lunch, and dinner.
Payment for these meals can be arranged by securing a Yale charge account from the
Office of Student Financial Services at 246 Church Street. Inquiries concerning food
services should be addressed to Yale University Dining Services, 246 Church Street,
PO
Box 208261, New Haven ct 06520-8261; telephone 203.432.0420. Dining Services can
also be found on the Web at www.yale.edu/dining.
student accounts and bills
Student accounts, billing, and related services are administered through the Office of
Student Financial Services, which is located at 246 Church Street. The telephone
number is 203.432.2700.
Bills
Beginning October 2006, Yale will no longer mail paper bills. The official means of com-
municating monthly financial account statements to members of the Yale University
community who have active official Yale e-mail accounts will be through the University’s
Internet-based system for electronic bill presentation and electronic payment, Yale Uni-
versity eBill-ePay.
Student account statements are prepared and made available twelve times a year at the
beginning of each month. Payment is due in full by 4
p.m. on the first business day of the
following month. E-mail notifications that the account statement is available on the Uni-
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versity eBill-ePay Web site (www.yale.edu/sis/ebep) are sent to all students who have
activated their official Yale e-mail accounts and to all student-designated authorized
payers. It is imperative that all students activate and monitor their Yale e-mail accounts
on an ongoing basis.
Bills for tuition, room, and board are available to the student during the first week of
July, due and payable by August 1 for the fall term; and during the first week of Novem-
ber, due and payable by December 1 for the spring term. The Office of Student Finan-
cial Services will impose a late charge if any part of the term bill, less Yale-administered
loans and scholarships that have been applied for on a timely basis, is not paid when due.
The late charge will be imposed as follows:
If fall-term payment in full is not received Late charge
by August 1 $110
by September 1 an additional 110
by October 1 an additional 110
If spring-term payment in full is not received Late charge
by December 1 $110
by January 2 an additional 110
by February 1 an additional 110
Nonpayment of bills and failure to complete and submit financial aid application
packages on a timely basis may result in the student’s involuntary withdrawal from the
University.
No degrees will be conferred and no transcripts will be furnished until all bills due the
University are paid in full. In addition, transcripts will not be furnished to any student or
former student who is in default on the payment of a student loan.
The University may withhold registration and certain University privileges from stu-
dents who have not paid their term bills or made satisfactory payment arrangements by
the day of registration. To avoid delay at registration, students must ensure that pay-
ments reach Student Financial Services by the due dates.
Charge for Rejected Payments
A processing charge of $20 will be assessed for payments rejected for any reason by the
bank on which they were drawn. In addition, the following penalties may apply if a pay-
ment is rejected:
1. If the payment was for a term bill, a $110 late fee will be charged for the period the bill
was unpaid.
2. If the payment was for a term bill to permit registration, the student’s registration may
be revoked.
3. If the payment was given to settle an unpaid balance in order to receive a diploma, the
University may refer the account to an attorney for collection.
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uition and General Expenses
99
Yale University eBill-ePay
Yale University eBill-ePay, the University’s system for electronic bill presentment and
electronic payment, is the preferred means for payment of bills. It can be found at
www.yale.edu/sis/ebep/. Electronic payments are easy and convenient—no checks to
write, no stamps, no envelopes, no hassle. Payments are immediately posted to the stu-
dent’s account. There is no charge to use this service. The student’s bank account infor-
mation is password protected and secure. The student receives a printable confirmation
receipt. Students can make payments twenty-four hours a day, seven days a week, up to
4
p.m. on their due date and avoid late fees. (The eBill-ePay system will not be available
when the system is undergoing upgrade, maintenance, or repair.) Students have control
over access to their account. A student can also authorize up to three people to make pay-
ments electronically from their own computers to the student’s account using Yale’s
system.
Use of the student’s own bank payment service is not authorized by the University
because it has no direct link to the student’s Yale account. We know from experience that
payments made through such services arrive without proper account identification and
always require manual processing that results in delayed crediting to the student’s
account, as well as resulting late fees and anxiety. Students should use Yale eBill-ePay to
pay online.
Yale Payment Plan
The Yale Payment Plan is a payment service that allows students and their families to pay
tuition, room, and board in eleven or twelve equal monthly installments throughout the
year based on individual family budget requirements. It is administered for the Univer-
sity by Sallie Mae Business Office Solutions. To enroll by telephone, call 800.635.0120.
The fee to cover administration of the plan is $65. The deadline for enrollment is June
22. For additional information, please contact Sallie Mae Business Office Solutions at the
number above or visit their Web site at www.tuitionpay.com.
Yale Charge Account Plan
Students who sign and return a Yale Charge Card Authorization form will be able to
charge designated optional items and services to their student accounts, including toll
calls made through the University’s telephone system. The University may withdraw this
privilege from students who do not pay their monthly bills on a timely basis. The autho-
rization form is availableat http://yale.edu/sfas/financial/ChargeAccAuthBillAgree.pdf.
tuition rebate and refund policy
On the basis of the federal regulations governing the return of federal student aid (Title
IV) funds for withdrawn students, the rebate and refund of tuition is subject to the fol-
lowing policy.
1. For purposes of determining the refund of federal student aid funds, any student
who withdraws from Yale School of Drama for any reason during the first 60 per-
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chool of Drama
cent of the term will be subject to a pro rata schedule which will be used to deter-
mine the amount of Title
IV funds a student has earned at the time of withdrawal.
A student who withdraws after the 60 percent point has earned 100 percent of the
Title
IV funds. In 2006–2007, the last days for refunding federal student aid funds
will be November 8 in the fall term and March 30 in the spring term.
2. For purposes of determining the refund of institutional aid funds and for students
who have not received financial aid:
a. 100 percent of tuition will be rebated for withdrawals which occur on or before
the end of the first 10 percent of the term (September 17, 2006 in the fall term
and January 17, 2007 in the spring term).
b. A rebate of one-half (50 percent) of tuition will be granted for withdrawals
which occur after the first 10 percent but on or before the last day of the first
quarter of the term (October 2, 2006 in the fall term and February 5, 2007 in
the spring term).
c. A rebate of one-quarter (25 percent) of tuition will be granted for withdrawals
which occur after the first quarter of a term but on or before the day of midterm
(October 29, 2006 in the fall term and March 9, 2007 in the spring term).
d. Students who withdraw for any reason after midterm will not receive a rebate
of any portion of tuition.
3. The death of a student shall cancel charges for tuition as of the date of death and
the bursar will adjust the tuition on a pro rata basis.
4. If the student has received student loans or other forms of financial aid, rebates
will be refunded in the order prescribed by federal regulations; namely, first to the
Unsubsidized Federal Stafford, if any; then Subsidized Federal Stafford loans, if
any; then to Federal Perkins loan; next to any other Federal, State, private or insti-
tutional scholarships and loans; and, finally, any remaining balance to the student.
5. Loan recipients (Stafford, Perkins, or Yale Student Loan) who withdraw are
required to have an exit interview before leaving Yale. Students leaving Yale
receive a mailing from Student Financial Services with an exit packet and instruc-
tions on completing this process.
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uition and General Expenses
101
Financial Aid Policy
Yale School of Drama’s financial aid policy has been designed to ensure that, within the
School of Drama’s resources, all qualified students with financial need will have the
opportunity to attend Yale.* For that reason, financial aid at the School of Drama is
awarded on the basis of need. The award consists of a combination of student employ-
ment, educational loans, and Yale scholarship.
statement on confidentiality
Requirements of Yale School of Drama’s need-blind admission policy as well as Yale’s
Policy on Student Records ensure the confidentiality of applicants’ and their families’
economic circumstances. Access to personally identifiable financial aid materials—
including applications, financial aid transcripts, award letters, and loan applications—is
limited to financial aid office personnel and members of the Financial Aid Committee.
required financial aid application procedures
The deadline for completing all applications is February 15, 2007. The deadline for mail-
ing in tax returns is April 15.
The mailing address to which all forms should be sent is: Yale School of Drama
Financial Aid Office, P.O. Box 208325, New Haven ct 06520-8325.
Although Yale School of Drama is committed to meeting a student’s need with an
appropriate financial aid package,
a delay in the application may negatively impact the amount
and nature of a prospective student’s award
and the School of Drama’s ability to assist the
student.
In order to have the student’s need individually evaluated and to receive the aid each
is entitled to, applicants must complete the following forms required for either U.S. cit-
izens/permanent residents or international students:
U.S. Citizens/Permanent Residents
fafsa
All students requesting financial assistance who are U.S. citizens or eligible non-citizens
are expected to file a Free Application for Federal Student Aid (
FAFSA). This is essential
for establishing eligibility for the federal financial aid programs, including the Federal
W
ork-Study
, the Federal Stafford Loan, and the Federal Perkins Loan. For efficiency
and accuracy
, complete the application online at www.fafsa.ed.gov.
1.
File a 2007–2008 Fr
ee Application for Federal Student Aid (
F
AFSA
) by Febr
uary 15, 2007
at www.fafsa.ed.gov
.
Y
ale’
s federal school code is 001426 which is necessary to com
-
plete the
FAFSA and to ensure that the School of Drama receives the processed
information electronically.
*All information in this section is typical of the 2006–2007 academic year. It may differ from year to year
depending on changes in federal regulations, the cost of living, and available financial aid resources.
need access
All students wishing to be considered for federal loans and Yale scholarship assistance
must file their application on the Web at www.needaccess.org.
2.
File a 2007–2008 Need Access Application by February 15, 2007 at www.needaccess.org.
Have your debit/credit card ready as there is a charge for this application.
federal tax returns
All students wishing to be considered for federal loans and Yale Scholarship assistance
must submit a copy of their federal tax return.
3.
Mail a signed copy of your (the student’s) 2006 federal income tax return by April 15.
Please include all W-2s and schedules.
International Students
financial aid application and certification of finances
All students requesting financial assistance who are international students are expected
to file the International Student Financial Aid Application and Certification of Finances.
Both forms are essential for establishing eligibility for student employment, loan, and
Yale scholarship. International students are eligible for employment and loan in their
first year of study. Second- and third-year international students may apply for the Eldon
Elder Fellowship (Yale scholarship) in addition to employment and loans.
1. Mail in the International Student Financial Aid Application by February 15.
The International Student Financial Aid Application can be printed from the fol-
lowing Web site: www.yale.edu/sfas/financial/0708ISFinAidApp.pdf.
2.
Mail in the International Student Certification of Finances by February 15.
The International Student Certification of Finances can be printed from the fol-
lowing Web site: www.yale.edu/sfas/financial/0708ISCertFin.pdf.
federal tax returns and/or income statements
3. Mail in signed copies of your (the student’s) and your parents’ tax documents and income
statements (U.S. and home country) by April 15.
visa documentation
In order to receive visa documentation, international students must submit proof that
income from all sources will be sufficient to meet expenses for one year of study. Evi-
dence of funds must come from one of the following sources: affidavit from a bank, copy
of a letter of award stating that financial assistance has been offered, certification by par-
ents of their ability and intention to provide the necessary funds, or certification by
employer of anticipated income.
determination of need and financial aid award
Yale School of Drama’s Financial Aid Office makes awards which, when added to the
funds that are expected from students, their spouses, their families, and other available
sources, should enable students to meet the basic costs of attending Yale.
F
inancial Aid Policy
103
Student Resources
assets
Students are responsible for contributing toward the cost of their own education. Finan-
cial aid recipients are expected to use a portion of their savings and assets during each
year of enrollment at Yale School of Drama. Students are advised not to reduce their
assets by more than the expected contribution since the balance will be assumed to exist
whether spent or not. If the savings and assets of the student increase, the expected con-
tribution from these resources will also increase.
earnings
It is assumed that students will contribute to their budget an amount based on either last
year’s or next year’s earnings. The minimum required student contribution is $2,000. If
a recipient is married and his or her spouse is not a student, and they have no dependent
children, the spouse will also be expected to contribute to the student’s budget from his
or her wages.
other resources
Other resources such as outside awards, parental support, income tax rebates, and Vet-
erans Administration benefits are included among a student’s resources.
Components of the Financial Aid Award
A financial aid award is determined by first establishing a standard budget, or cost of edu-
cation. Using a set of formulae developed by the
U.S. Congress, called the Federal
Methodology, and the formulas developed by Need Access, called the Institutional
Methodology, a calculation of a student’s resources or expected family contribution
(
EFC), if applicable, is then made. The difference between a student’s cost of attendance
and the student’s personal or family contribution constitutes that student’s need. Under
no circumstance may financial aid exceed a student’s cost of education.
For incoming students during the 2006–2007 academic year, the first portion of a
student’s need was met through Work-Study employment, the earnings for which
ranged between $1,700 and $3,900 depending on the student’s program of study; the next
portion came in the form of an educational loan; and the balance of a student’s demon-
strated need, if any, was covered by scholarship.
Sample Awards based on Financial Need
U.S. Citizen/Permanent All All
Resident Students
Students
First-year student Second-year student Third-year student
Average Work-Study $ 2,000 2,000 2,000
Educational Loans: $14,000 12,500 3,500
Average Scholarship: $14,000 15,500 26,000
Average Total Aid Awarded: $30,000
104 S
chool of Drama
After the successful completion of the first year and assuming that there are no changes
in the needs analysis for the student, it is the policy of the School of Drama to improve
the financial aid award offered to the student in his or her second and third years.
Specifically, the educational loan is decreased and the scholarship is increased.
Work-Study consists of a job, or series of jobs, within the Yale School of Drama or at
Yale Repertory Theatre. The earnings are paid weekly or semi-monthly.
Educational loans make up an important part of every aid award. The basic loans are
issued through the Federal Stafford Loan, the Federal Perkins Loan, and various sup-
plemental loan programs. Private supplemental loan programs offer funds to students
who require loan assistance in excess of the annual borrowing limits for the Federal
Stafford and Federal Perkins programs, and to students who are not eligible for the fed-
eral loan programs. Two such supplemental loan programs are the Access Group Loans
and the GATE Y-Loan. Details on the terms of these loans are available on the Internet
at www.needaccess.org and www.yale.edu/sfas.
Yale scholarships: If the student’s financial need is greater than the total of the Work-
Study award and the educational loan, the remaining unmet need will normally be pro-
vided by a scholarship. Eligibility for scholarship assistance is limited to six terms of
study. Each year Yale School of Drama awards a substantial amount in scholarships. For
the 2006–2007 academic year, scholarships totaling over $3.1 million were awarded. Stu-
dents who do not qualify for traditional financial aid may be able to receive assistance
through term-time employment and various supplemental loan programs
student responsibilities under federal programs
All students who receive funds through a federal program must certify to the following:
that any funds received will be used solely for expenses related to attendance at Yale
School of Drama; that they will repay funds which cannot reasonably be attributed to
meeting those expenses; that they are not in default on any student loan nor owe a repay-
ment on a federal grant. Continued eligibility for financial aid requires that students
maintain satisfactory progress in their courses of study according to the policies and
practices of the School of Drama.
veterans’ affairs benefits
Students seeking general information about veterans’ education benefits should contact
the
U.S. Department of Veterans Affairs via the Web at www.gibill.va.gov/ for eligibility
information. Students should contact Yale School of Drama’s registrar for enrollment
certification.
emergency loans
Sometimes an emergency situation arises in which a small amount of money is needed
for a short length of time. The financial aid office may be able to assist any student,
whether receiving financial aid or not, in such a situation by providing an emergency
loan in an amount up to
$350. Such loans are available for a reasonable amount of time,
F
inancial Aid Policy
105
not to exceed sixty days. If the loan is not repaid in full by the due date, a late charge of
$10 is assessed each month or part of a month until the amount is paid. Students facing
genuine emergency situations should apply to the financial aid office for such an emer-
gency loan.
loan consolidation
The Consolidation Loan, which was created in 1986, will make it easier for certain stu-
dent borrowers to manage the repayment of their federal educational loans. Instead of
making multiple payments, which may have been necessary under the original loan
schedules, the borrower makes a single monthly payment. Moreover, at the discretion of
the lender, the borrower may exercise an option to extend repayment (to more than ten
years), graduated repayment (smaller payments in the early years and larger payments in
the later years), or make income-sensitive repayments (payment as a percentage of the
borrower’s income). A condition for issuance of a Consolidation Loan is that all original
loans must be in repayment or in the grace period, and that none may have past-due pay-
ments greater than ninety days. Details on Consolidation Loans are available from the
borrower’s lender.
students who do not qualify for financial aid
Eligibility for receipt of Yale School of Drama assistance or most forms of federal finan-
cial aid is limited to students who are enrolled in programs which yield either a degree or
a certificate. At present, certain students, including those attending the School of Drama
as special students on a full-time basis, who are not eligible for financial aid according to
the federal guidelines, may be eligible to apply for assistance under various supplemen-
tal loan programs, including the Access Group Loans and
GATE Y-Loan. This is the
only form of aid currently available to special students. For more information, please see
the paragraph headed
Educational loans (above).
106 S
chool of Drama
Fellowships and Scholarships
Fellowships and scholarships are awarded exclusively to students with demonstrated
financial need.
The
John Badham Scholarship, established in 1987 by alumnus John Badham (’63), sup-
ports outstanding directing students at Yale School of Drama.
The
Mark Bailey Scholarship, established in 1991 through an estate gift from Marcia E.
Bailey, is awarded to a student of Yale School of Drama with a preference to graduates of
high schools in the state of Maine who show promise in the field of drama.
The
George Pierce Baker Memorial Scholarship, established by friends of the late Mr. Baker
and by alumni of Yale School of Drama in 1960, honors the memory of Professor Baker,
who chaired the Yale Department of Drama from its founding in 1925 through 1933. The
Baker Scholarship is awarded to a student of the School of Drama.
The Herbert H. and Patricia M. Brodkin Scholarship, established in 1963 by Mr. and Mrs.
Brodkin, Yale School of Drama classes of 1940 and 1941 respectively, is awarded to a stu-
dent of the School of Drama.
The
Patricia M. Brodkin Memorial Scholarship, established in 1983 by Herbert Brodkin
(’40), associates, and friends in memory of his wife Patricia (’41), is awarded to a student
of Yale School of Drama.
The
Truman Capote Literary Fellowships were established in 1994 through the generosity
of The Truman Capote Literary Trust, Alan U. Schwartz, Trustee, to encourage students
in Dramatic Criticism and Dramatic Writing to pursue the highest literary standards as
reflected in the work of Mr. Capote.
The Paul Carter Scholarship, established in 1995 in memory of Paul Carter, a 1983 Tech-
nical Design and Production graduate of Yale School of Drama, by his family and friends,
is awarded to a student in the Technical Design and Production department with need
for financial support to complete his or her education. Mr. Carter was well known as the
author of
The Backstage Handbook, a standard reference work in his field.
The Cheryl Crawford Scholarship, established in 2001 through an estate gift from Char-
lotte Abramson, honors the memory of producer Cheryl Crawford, a co-founder of The
Group Theater and The Actors Studio. The Crawford Scholarship supports students in
the Playwriting, Directing, and Acting departments.
The
Holmes Easley Scholarship, established in 2004 through an estate gift from Mr
. Easley
,
is awarded to a male student studying scenic design at Y
ale School of Drama.
The Eldon Elder Fellowship, established in 2001 through an estate gift from stage designer
and professor Eldon Elder (’58), is awarded to international students with a preference
for those studying Design and Technical Design and Production.
The
Foster Family Graduate Fellowship was established in 1995 in memory of Max Foster
(Yale College ’23), who wanted to be a playwright or an actor, by his wife, Elizabeth, and
his son Vincent (Yale College ’60). The fellowship is awarded to a Yale School of Drama
student, with preference given to graduates of Yale College.
The Annie G. K. Garland Memorial Scholarship, established in 1930 by William J. Garland
in memory of his wife, is awarded to a student of Yale School of Drama.
The
Gordon F. Knight Scholarship, established in 2005, is awarded to female students at
Yale School of Drama.
The
Lotte Lenya Scholarship Fund, established in 1998 through an estate gift from Margo
Harris Hammerschlag and Dr. Ernst Hammerschlag, honors the late actress and wife of
Kurt Weill, Lotte Lenya. The Lenya Scholarship is awarded to a student actor who also
has proficiency in singing.
The
Lord Memorial Scholarship, established in 1929 in memory of Henrietta Hoffman
Lord by her mother, Mrs. J. Walter Lord, and friends, is awarded to a female student of
Yale School of Drama.
The
Virginia Brown Martin Scholarship, established in 2001 by Virginia Brown Martin,
supports Yale School of Drama students with preference given to students enrolled in the
Acting department.
The
Stanley R. McCandless Scholarship, established in 1979 by Louis Erhardt (’32) and
friends, honors the late Mr. McCandless, professor of stage lighting from 1925 through
1964. The McCandless Scholarship is awarded to a student in lighting design.
The
Benjamin Mordecai Memorial Fund, established in 2006, is awarded to theater man-
agement students at Yale School of Drama.
The
Kenneth D. Moxley Memorial Scholarship, established in 1980 through an estate gift
from alumnus Kenneth D. Moxley (’50), assists students of Yale School of Drama.
The
Donald M. Oenslager Scholarship in Stage Design, established in 1977 by his widow,
Mary P. Oenslager, honors Professor Oenslager, an original faculty member who
founded and chaired Yale School of Drama’s Design department until his retirement in
1970. The Oenslager Scholarship supports outstanding design students in their third
year of study.
The
Donald and Zorka Oenslager Scholarship in Stage Design, established in 1996 through
an estate gift from Zorka Oenslager, is awarded to a resident student studying scene, cos-
tume, or lighting design.
108 S
chool of Drama
The Eugene O’Neill Memorial Scholarship, established in 1958 by alumni, faculty, and
friends of Yale School of Drama, honors the American playwright who received an hon-
orary Doctor of Literature degree from Yale University in 1926. The O’Neill Scholar-
ship is awarded to a student in playwriting.
The
Mary Jean Parson Scholarship, established in 1999 with estate gifts from alumna Mary
Jean Parson (’59) and her mother, Ursula Parson, is awarded to a Yale School of Drama
student with preference for a second-year female directing student.
The
Richard Harrison Senie Scholarship, established in 1987 through an estate gift from
Drama alumnus Richard H. Senie (’37), is awarded to a Yale School of Drama student
with a preference in design.
The
Leon Brooks Walker Scholarship, established in 1975 by Alma Brooks Walker in
memory of her son, Leon (Yale College ’21), assists acting students of Yale School of
Drama.
The
Richard Ward Scholarship, established in 1994 through an estate gift from Virginia
Ward in honor of her late husband, is awarded to a minority student.
The
Constance Welch Memorial Scholarship was established in 1979 by former students and
friends in memory of Constance Welch, who originated the Acting department at Yale
School of Drama, where she taught from 1929 to 1967. The Welch Scholarship is
awarded by the faculty to a student in acting.
The
Rebecca West Scholarship, established in 1981 by Mrs. Katherine D. Wright, in honor
of Dame Rebecca West, whose remarkable literary career spanned seven decades, assists
students in Yale School of Drama.
The
Audrey Wood Scholarship was established in 1983 by the friends of Miss Wood to
honor her legendary career as a literary agent to many of America’s most important new
playwrights. It is awarded to students in the Playwriting department.
F
ellowships and Scholarships
109
Prizes
The ASCAP Cole Porter Prize is awarded to students of Yale School of Drama for excel-
lence in writing. The 2005–2006 recipients were Nastaran Ahmadi and Alena Marion
Smith.
The
Edward C. Cole Memorial Award is sponsored by the Technical Design and Pro-
duction Class of 1983 to commemorate the contributions of Edward C. Cole to the
profession of technical theater. The recipients of this award, selected by their class-
mates in the graduating class of the Technical Design and Production department, best
exemplify the ingenuity, creativity, craftsmanship, and dedication to the art of theater
that are the hallmarks of the theater technician. The 2005–2006 recipients were Lillian
Martha Twining and Aaron Chase Bollinger.
The John W. Gassner Memorial Prize is awarded for the best critical essay, article, or
review by a student published in, or submitted to,
Theater. The 2005–2006 recipient was
Yana Ross.
The
Bert Gruver Memorial Prize is awarded to a student of Yale School of Drama for
excellence in stage management. The 2005–2006 recipient was Shawn Brian Senavinin.
The
Allen M. and Hildred L. Harvey Prize, established by Jean L. Harvey to recognize
superior work and writing by Technical Design and Production students, is awarded to
the student author of the best article in
Technical Brief and/or the best Technical Design
and Production research thesis. The 2005–2006 recipient was Daniel T. Lisowski.
The
Morris J. Kaplan Award, established by the friends and colleagues of Morris Kaplan,
is given to the third-year theater management student who most exhibits the integrity,
commitment, and selfless dedication to the art of theater which characterized Morris
Kaplan’s twenty-year career as counsel to the League of Resident Theaters. The
2005–2006 recipient was Arthur F. Nacht.
The
Julian Milton Kaufman Memorial Prize, established by Lily P. Kaufman in memory
of her husband, Julian Kaufman, a 1954 alumnus of the Directing department who,
through teaching at the secondary and university levels, touched the lives of countless
young people, is awarded to a graduating directing student who has demonstrated talent
in his or her chosen field of endeavor. The 2005–2006 recipient was Susan Caroline
Gellert.
The
Leo Lerman Graduate Fellowship in Design, given by friends of the late Mr. Lerman
and the Samuel I. Newhouse Foundation, Inc., is awarded to students of costume design
for the purpose of enabling them to study internationally upon their graduation from
Yale School of Drama. The 2005–2006 recipients were Jennifer Yejin Moeller and Emily
Elizabeth Rebholz.
The Dexter Wood Luke Memorial Prize, established by Jane Kaczmarek (’82), is awarded
to a third-year student whose sense of curiosity and sense of joy have enriched the lives
of his/her colleagues at Yale School of Drama. The 2005–2006 recipient was John Bar-
rett Starmer.
The
Donald and Zorka Oenslager Travel Fellowship, established in 1996 through an estate
gift from Zorka Oenslager, is awarded to design students who wish to study internation-
ally upon graduation. The 2005–2006 recipients were Kanae Heike, Aleksandra Maslik,
and Zane Rich Pihlstrom.
The Oliver Thorndike Acting Award, established by Mrs. Nathaniel S. Simpkins, Jr., and
supplemented by gifts from her son, Nathaniel Simpkins
III, in memory of Oliver
Thorndike Simpkins, whose stage name was Oliver Thorndike, is awarded annually to
an actor in Yale School of Drama who best exemplifies the spirit of fellowship, coopera-
tion, and devotion to the theater that characterized Mr. Thorndike. The 2005–2006
recipient was Bryan Terrell Clark.
The
Herschel Williams Prize, established by Mr. Williams, who was a member of the first
class accepted in Drama at Yale, is awarded to acting students with outstanding ability.
The 2005–2006 recipients were Corena Chase and Kathleen McElfresh.
P
rizes
111
*In residence.
Enrollment 2006–2007
registered for the degree of doctor of fine arts*
Monica Achen
Mark Blankenship
Amy Boratko
Claudia Wilsch Case
Michael D’Alessandro
Kate McConnell
Christine Mok
Yana Ross
Erika Rundle
Rachel Rusch
Jonathan Shandell
Michael Walkup
Total, 12
registered for the degree of master of fine arts
Third Year
Tea Alagic
Amy Lauren Altadonna
Lisa Beth Birnbaum
Michael Sean Braun
Phillip Burke Brown
Christina Lorraine Bullard
David Calica
Gregg Robert Carlson
Maiko Chii
Kristen Nora Connolly
Syreeta Vanessa Covington
Malcolm Kishner Darrell
Theodore Russell DeLong
Derek Michael DiGregorio
Emily Ryan Dorsch
Ryan Campbell Durham
Dustin Owen Eshenroder
Nelson Teng Eusebio
III
Erin Leigh Felgar
Deeksha Gaur
Eric Richard Gilde
Andrew J. Gitchel
Joseph Philip Hamlin
Greg H. Hennigan
Brian Henry
Amy Carol Herzog
Jessica Dawn Hill
Rumiko Ishii
Suzanne Kim
Kathryn Krier
Willam Bradford Love
Carla Marie Mastraccio
Tarell Alvin McCraney
Rachel Sara Myers
Isa Naomi Okuyama
Katrina Olson
Debera Orzechowski
Gilbert Owuor
Jonathan A. Reed
Jeffrey Ryan Harris Rogers
Joanna S. Romberg
Nicole Lantheaume Rossini
Thomas Everett Russell
Charles A. Semine
Justin Sherin
Ben Robert Stark
Tiffany Rachelle Stewart
Katherine Gloria Tharp
David Andrew Thomas
Elliot Carmelo Villar
Thomas R. Weaver
Total, 51
E
nrollment
113
Second Year
Nicole Berger
Ola Bråten
Christopher Brown
Ashley Bryant
Brian Burns
Paul Carey
Nicholas Carriere
Yuri Cataldo
Joseph Cermatori
Ji-youn Chang
James Chen
Caitlin Clouthier
Shoshana Cooper
Brenda Davis
Snehal Desai
Michael Donahue
Danielle Federico
Lauren Feldman
Jason Fitzgerald
Dorothy Fortenberry
Paul Gelinas
Christopher Grant
Jason Grant
John Hilley
Nicholas Hoge
Jana Hoglund
Heide Janssen
Anya Klepikov
Miu Chi Lai
Drew Lichtenberg
Michael Locher
Alex Major
Justin McDaniel
Joanne McInerney
Melissa Mizell
Steven Neuenschwander
Sarah Olivieri
Jacob Padron
Gamal Palmer
Joseph Parks
Roberta Pereira DaSilva
Christopher Peterson
Aubyn Philabaum
Sarah Pickett
Bryce Pinkham
Nicholas Rastenis
Rebecca Rindler
David Roberts
Lauren Rockman
Lisa Shuster
Rachel Smith
Brian Swanson
Melissa Trn
Jennifer Tuckett
Aaron Verdery
Veronika Vorel
Amanda Warren
Jonathan Willis
Stephanie Ybarra
Total, 59
First Year
Michael Barker
Jesse Belsky
Frances A. Black
Andrew Boyce
Madeline Brickman
Eddie Robert Brown
Luke Aaron Brown
Eric Bryant
Donald Eugene Claxon
Moria Sine Clinton
Charles Coes
Matthew Richard Cornish
Thomas R. Delgado
Scott James Dougan
Kyoung jun Eo
Laura Woodward Esposito
Miriam E. Felton-Dansky
Aurelia K. Fisher
Joel Furmanek
Jacob Gallagher-Ross
Carter Pierce Gill
Heidi Leigh Hanson
Brian Hastert
114 S
chool of Drama
Alexander Justin Knox
Maura E. LaRiviere
Kristofer Longley-Postema
Timothy R. Mackabee
John J. McCullough
Christopher Michael McFarland
Patricia Tina McGregor
Samual Alexander Michael
Matthew Moses
Iris Dawn O’Brien
John Barret O’Brien
Katherine Elizabeth O’Neill
Phillip Dawson Owen
Sarah E. Pearline
Erik Lane Pearson
Katharine Warner Perdue
Rebecca Kate Phillips
Meghan Pressman
Luke Rivas Robertson
Kenneth Paul Robinson
Gonzalo Rodriguez Risco
Pierre-André Salim
Amanda Seymour
Jennifer Louise Jude Shaw
Devon Virginia Smith
Andrew F. Southard
Amanda Spooner
Benjamin Strange
Erica Renee Sullivan
Alexander Manuel Teicheira
Nondumiso Tembe
Sergio Torres Pozo
Michael Aaron Vandercook
Adria Marie Vitlar
Matthew Taylor Welander
Kristina Corcoran Williams
Rebecca Anne Wolff
Total, 60
registered for the
certificate in drama
Third Year
Alexander Beard
Joseph Gallagher
Total, 2
Second Year
Brooke Parks
Jamel Rodriguez
Total, 2
First Year
Sisi Aisha Johnson
Teresa Anne Lim
Total, 2
registered for the
technical internship
certificate
Samantha Joanne Baker
Heather Marie Carter
Caitlin Marie Hevner
Joseph Huppert
Keri Kriston
Total, 5
registered as
special student
William Logue
Total, 1
registered as
special research fellow
Donghun Lee
Bian Wentong
TingTing Zhao
Total, 3
E
nrollment
115
Departmental Summary
Doctor of Fine Arts: 12
Acting
Third-Year Class: 16
Second-Year Class: 16
First-Year Class: 16
Design
Third-Year Class: 8
Second-Year Class: 13
First-Year Class: 10
Sound Design
Third-Year Class: 3
Second-Year Class: 3
First-Year Class: 3
Directing
Third-Year Class: 3
Second-Year Class: 3
First-Year Class: 3
Dramaturgy and Dramatic Criticism
Third-Year Class: 2
Second-Year Class: 3
First-Year Class: 6
Playwriting
Third-Year Class: 4
Second-Year Class: 3
First-Year Class: 3
Stage Management
Third-Year Class: 4
Second-Year Class: 4
First-Year Class: 4
Technical Design and Production
Third-Year Class: 8
Second-Year Class: 9
First-Year Class: 11
Theater Management
Third-Year Class: 5
Second-Year Class: 7
First-Year Class: 7
Technical Internship: 5
General Summary
Candidates for the D.F.A. Degree (in residence) 12
Candidates for the
M.F.A. Degree 170
Third-Year Class: 51
Second-Year Class: 59
First-Year Class: 60
Candidates for the Certificate in Drama 6
Candidates for the Technical Internship Certificate 5
Special Student 1
Special Research Fellow 3
T
otal number of students r
egistered 197
116 S
chool of Drama
Geographical Distribution
United States
Alaska 1
Arizona 3
Arkansas 1
California 22
Colorado 2
Connecticut 21
District of Columbia 1
Florida 9
Idaho 1
Illinois 3
Indiana 1
Iowa 3
Kentucky 2
Louisiana 3
Maine 1
Maryland 2
Massachusetts 14
Michigan 4
Minnesota 1
Missouri 3
Nebraska 1
Nevada 2
New Hampshire 1
New Jersey 8
New York 20
North Carolina 6
Ohio 3
Oklahoma 2
Oregon 2
Pennsylvania 14
Rhode Island 1
Tennessee 2
Texas 8
Vermont 1
Virginia 3
W
ashington
2
Wisconsin 4
Wyoming 1
Total number of states represented 37
Foreign Countries
Brazil 1
Canada 2
China 2
England 2
France 1
Hong Kong 1
Indonesia 1
Japan 1
Kenya 1
Korea 2
Norway 1
Peru 1
South Africa 1
Spain 1
Total number of foreign
countries represented 14
The Work of Yale University
The work of Yale University is carried on in the following schools:
Yale College: Courses in humanities, social sciences, natural sciences, mathematical and computer
sciences, and engineering. Bachelor of Arts (B.A.), Bachelor of Science (B.S.).
For additional information, please write to the Office of Undergraduate Admissions, Yale Uni-
versity,
POBox 208234, NewHaven ct06520-8234;telephone, 203.432.9300; e-mail,undergraduate.
admissions
@
yale.edu; Web site, www.yale.edu/admit/
Graduate School of Arts and Sciences: Courses for college graduates. Master of Arts (M.A.),
Master of Engineering (M.Eng.), Master of Science (M.S.), Master of Philosophy (M.Phil.), Doctor of
Philosophy (Ph.D.).
For additional information, please visit www.yale.edu/graduateschool, write to graduate.admis-
sions
@
yale.edu, or call the Office of Graduate Admissions at 203.432.2771. Postal correspondence
should be directed to the Office of Graduate Admissions, Yale Graduate School of Arts and Sci-
ences, PO Box 208323, New Haven ct 06520-8323.
School of Medicine: Courses for college graduates and students who have completed requisite
training in approved institutions. Doctor of Medicine (M.D.). Postgraduate study in the basic sci-
ences and clinical subjects. Combined program with the Graduate School of Arts and Sciences lead-
ing to Doctor of Medicine and Doctor of Philosophy (M.D./Ph.D.). Courses in public health for
qualified students. Master of Public Health (M.P.H.), Master of Medical Science (M.M.Sc.) from the
Physician Associate Program.
For additional information, please write to the Director of Admissions, Office of Admissions,
Yale University School of Medicine, 367 Cedar Street, New Haven ct 06510; telephone,
203.785.2643; fax, 203.785.3234; e-mail, medical.admissions
@
yale.edu; Web site, http://info.med.
yale.edu/education/admissions/
For additional information about the Department of Epidemiology and Public Health, an
accredited School of Public Health, please write to the Director of Admissions, Yale School of
Public Health, PO Box 208034, New Haven ct 06520-8034; e-mail, eph.admissions
@
yale.edu;
Web site, http://publichealth.yale.edu/
Divinity School: Courses for college graduates. Master of Divinity (M.Div.), Master of Arts in Reli-
gion (M.A.R.). Individuals with an M.Div. degree may apply for the program leading to the degree of
Master of Sacred Theology (S.T.M.).
For additional information, please write to the Admissions Office, Yale Divinity School,
409 Prospect Street, New Haven
ct 06511; telephone, 203.432.5360; fax, 203.432.7475; e-mail,
divinityadmissions
@
yale.edu; Web site, www.yale.edu/divinity/. Online application, http://apply.
embark.com/grad/yale/divinity/
Law School: Courses for college graduates. Juris Doctor (J.D.). For additional information, please
write to the Admissions Office, Yale Law School, PO Box 208329, New Haven ct 06520-8329; tele-
phone, 203.432.4995; e-mail, admissions.la
w
@
yale.edu; W
eb site, www
.law
.yale.edu/
Graduate Programs: Master of Laws (
LL.M.), Doctor of the Science of Law (J.S.D.), Master of
Studies in Law (M.S.L.). For additional information, please write to Graduate Programs, Yale Law
School, P
O
Box 208215, New Haven ct 06520-8215; telephone, 203.432.1696; e-mail, gradpro.law
@
yale.edu; Web site, www.law.yale.edu/
School of Art: Professional courses for college and art school graduates. Master of Fine Arts
(M
.F.A.
).
For additional information, please write to the Office of Academic Affairs, Yale University
School of Art, P
O
Box 208339, New Haven ct 06520-8339; telephone, 203.432.2600; e-mail,
artschool.info
@
yale.edu; Web site, www.yale.edu/art/
School of Music: Graduate professional studies in performance, composition, and conducting.
Certificate in Performance, Master of Music (M.M.), Master of Musical Arts (M.M.A.), Artist
Diploma, Doctor of Musical Arts (D.M.A.).
For additional information, please write to the Yale School of Music, PO Box 208246, New
Haven ct 06520-8246; telephone, 203.432.4155; fax, 203.432.7448; e-mail, gradmusic.admissions
@
yale.edu; Web site, www.yale.edu/music/
School of Forestry & Environmental Studies: Courses for college graduates. Master of Forestry
(M.F.), Master of Forest Science (M.F.S.), Master of Environmental Science (M.E.Sc.), Master of
Environmental Management (M.E.M.), Doctor of Philosophy (Ph.D.).
For additional information, please write to the Office of Admissions, Yale School of Forestry &
Environmental Studies, 205 Prospect Street, New Haven ct 06511; telephone, 800.825.0330;
e-mail, fesinfo
@
yale.edu; Web site, www.yale.edu/environment/
School of Architecture: Courses for college graduates. Professional degree: Master of Architec-
ture (M.Arch.); nonprofessional degree: Master of Environmental Design (M.E.D.).
For additional information, please write to the Yale School of Architecture, PO Box 208242,
New Haven ct 06520-8242; telephone, 203.432.2296; e-mail, gradarch.admissions
@
yale.edu; Web
site, www.architecture.yale.edu/
School of Nursing: Courses for college graduates. Master of Science in Nursing (M.S.N.), Post
Master’s Certificate, Doctor of Nursing Science (D.N.Sc.).
For additional information, please write to the Yale School of Nursing, PO Box 9740, New
Haven ct 06536-0740; telephone, 203.785.2389; Web site, http://nursing.yale.edu/
School of Drama: Courses for college graduates and certificate students. Master of Fine Arts
(M.F.A.), Certificate in Drama, One-year Technical Internship (Certificate), Doctor of Fine Arts
(D.F.A.).
For additional information, please write to the Registrar’s Office, Yale School of Drama, PO Box
208325, New Haven ct 06520-8325; telephone, 203.432.1507; Web site, www.yale.edu/drama/
School of Management: Courses for college graduates. Professional degree: Master of Business
Administration (M.B.A.).
For additional information, please write to the Admissions Office, Yale School of Management,
PO Box 208200, 135 Prospect Street, New Haven ct 06520-8200; telephone, 203.432.5932; fax,
203.432.7004; e-mail, mba.admissions
@
yale.edu; Web site, www.mba.yale.edu/
118 S
chool of Drama
Lincoln Street
Whi
tney
Ave
nue
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l Street
Tru
mbull Street
Prospect Street
Hillhouse A
ven
ue
Mansfield
Street
Compton
Street
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land Street
Canal Street
Sachem Street
Whi
tney
Ave
nue
Edward
s Street
Bishop Stree
t
Humphrey
Stre
et
Prospect St
reet
Prospect Place
Lock Street
Web
ster Str
eet
Bristol Stree
t
Winchester A
ven
ue
Hillside Place
Ashmun Street
Yor k Square Place
Lake Place
Tem
ple Str
eet
Grov
e Street
Tower Parkwa
y
St. Ronan Street
Ca
nne
r Stre
e
t
C
o
t
t
ag
e
St
reet
Bradley Stre
et
Aud
ubon Street
L
aw
rence Str
eet
Prospect Street
Edward
s Street
HEWITT
QUAD
CROSS CAMPUS
GROVE STREET
CEMETERY
Sill
iman
Timothy
Dwight
Berkele
y
Ezra
Stiles
Morse
from I-91
Leitner
Observatory
360
Mason La
b
Health
Services
Helen
Hadley Hall
Leet
Oliver
24
Wat
son
Hall
Malo
ne
Eng
ine
erin
g
Cen
ter
77
28
SSS
Kirtlan
d
Dunham
Lab
Becton
Davies
38
230
Ingalls
Rink
Science
Hill
Garage
30
46
Steinbach
Hall
Evans
Hall
35
37
Pre
sid
ent’
s
Hous
e
51
Horcho
w
Hall
158
121
124
155
Founder
s
Hall
Hammond Hall
Mudd
Library
Ros
e
Cen
ter
(Po
lic
e
Stati
on)
80
70
140
Osborn
Labs
Sloane
Physics
Lab
Kline
Biology
Tow
er
Kline
Chemistry
Lab
Class of 1954
Chemistry
Research Building
Sage-
Bower
s
Hall
Sterling
Chemistry
Lab
Wri
ght
Lab
Wri
ght
Lab
We
st
Pierson-Sage Gar
age
Bass Center
EAL
380
Gibbs Lab
340
309
175
301
Wat
son
Center
181
205
90-96
102-6
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254
314
310
Luce
Hall
S
DQ
M
ar
quand
Ch
ap
el
International
House
Greele
y
Memorial
Lab
Marsh Hall
Be
l
l
a
my
Marsh
Botanical
Garden
Sustainable
Food Project
Farm
Central
Power
Plant
New
Res
idenc
e
Hal
l
Payne
Whitney
Gym
Lanman
Center
Mory’s
Ray T
ompkins
House
Hall
of
Graduate
Studies
Ya l
e
ookstore
Beinecke
Librar
y
University
Commons
Wool
sey
Hall
Wood
bridge
Hall
Sprague
Hall
Sterling
Memorial
rary
Sterling
Law
Buildings
Student
Financi
al
Services
246
451
Stoeckel
Hall
82-90
66
320
l
e
Whitney
Humanities
Center
405
442
432-4
493
War
ner
House
370
27
Allwin Hall
87
CCL
WLH
15
433
421
International
Center
80
Slifka
Undergr
ad
Admissions
265
250
350
Whi
tne
y
Gro
ve
Squ
are
Cur
ti
s
Fis
her
175
Donaldson
Commons
8
Prospect
Place
I
nformati
on
Tec
hnology
Services
221
Whitney
Ave
nue
Ga
ra
ge
Kline
Geology Lab
Peabody
Museum
210
Class of 1954
Envi
r
onmental
Science
Center
Divinity
School
459
Institute of
Sacred M
usic
55
Undergr
aduate
Career
Service
s
and IEFP
School o
f
Management
Betts
House
Off
Broadway
Theater
35
dwa
y
Music
Library
Rosenfeld
Hall
202
4
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Yor
k Square Place
Lake Place
Wha
lley
Ave
nue
Elm Street
Chapel Stre
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Tem
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Tem
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eet
Tem
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Colleg
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S
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B
r
oadwa
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Edgew
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ven
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Crown Street
Chapel Street
Yor
k Street
Yor
k Street
North Front
age Road
College Street
Park Street
Howard
Ave
nue
Ver
non Str
eet
War
d Street
Sylvan
Ave
nue
Dav
enport A
ven
ue
Gilbert Street
Congress
Ave
nue
Was
hington A
ven
ue
Cedar Stree
t
Liberty
Street
Amistad
Street
Church Str
eet
South
Gold Stree
t
Lafa
yet
te Street
South Frontag
e Road
G
ro
v
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S
treet
George Str
eet
High Stree
t
Tow
er Parkwa
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Lyn
wood Place
Howe Street
Orange Str
eet
Orange Str
eet
A
u
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u
b
o
n
St
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Church Street
Church Street
Yor
k Street
Par
k Street
Elm Street
HEWITT
QUAD
NEW HAVEN GREEN
OLD CAMPUS
CROSS CAMPUS
G
ROVE STREET
CEMETERY
Jonatha
n
Edwards
Tru
mbull
Berkele
y
Sill
iman
Davenport
Saybrook
Branfor
d
Calhoun
Ti
m
othy
Dwight
Pierson
B
er
kele
y
Ezra
Stiles
Morse
from I-91 & I-95
t
o Yale
Athletic
Fields
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South
129
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M
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Com
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l
Wo
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b
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Spra
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H
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Ster
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Me
mo
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Law
B
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Financi
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vi
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Hall
Hendrie
Hall
82-90
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Press
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Humanitie
s
Cen
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Str
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Bingham
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Hall
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Wel
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La
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Phelps
Farnam
Batt
ell
Chapel
Durfee
Ya l
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Post Off
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Lanman-
Wright
Harkness
Tow
er
Art
Gal
ler
y
Sculpture
Garden
Wei
r
A&A
205
Drama
Annex
Ya l
e
Daily
News
215
Green
Hall
Howe
Street
Garage
353
GPSCY
Univer
sity
Theatre
Rose
Alumni
212
217
32-36
32-36
220
149
305
Ya l
e
Repertory
Theatre
Chapel-
Yor
k
Garage
Latino
Cultural
Center
301
295
Asi
an A
meri
can
/
Nat
ive
Am
eri
can
Cul
tur
al
Cen
ter
405
4
3
Air Rights
Parking Facility
Center for
British Art
493
War
n
er
House
370
270
C
C
L
W
LH
1
5
421
I
nter
na
ti
ona
l
Center
80
S
l
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Vis
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Center
149
265
195
250
Wh
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tn
e
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G
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ve
S
q
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are
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School o
f
Nursing
Amistad Street
Garage
Amistad Street
Building
55
U
ndergr
aduate
Ca
reer
Ser
v
i
c
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s
and
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341-47
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Rose
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all
Connecticut
Mental Health
Center
34
Children's
Hospital:
Wes
t Pavilion
Hospital:
East Pavilion
Hospital:
South
Pavilion
ESH
ICDU
NIHB
CSC
Cancer
Center
Harkness
Auditorium
LEPH
Medical
Library
Sterling Hall
of Medicine
NSB
Hunter
WWW
CB
BB
BML
Lauder
LMP
L
LCI
MRC
PET
FMP
Dana
Clinic
Howard Ave.
Garage
Yale
Physicians
Building
TE
TMP
Primary
Care
Ctr
464
&
430
FMB
LSOG
Anlyan
Center
SPP
47
55
37
127
135
153
60
40
300
Pierce
Laboratory
270
132
Yale-New Haven
Psychiatric
Hospital
Congress
Place
BCMM
Hope
St.
Thomas
More Chapel
Golden
Center
Afr
o-Am
eric
an
Cul
tur
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Cen
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© Yale University. Map is not to scale
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Bulletin of Yale University
Postmaster: Send address changes to Bulletin of Yale University,
PO Box 208227, New Haven ct 06520-8227
PO Box 208230, New Haven ct 06520-8230
Periodicals postage paid at New Haven, Connecticut
Issued seventeen times a year: one time a year in May, November, and December; two times
a year in June; three times a year in Julyand September; six times a year in August
Managing Editor: Linda Koch Lorimer
Editor: David J. Baker
Editorial and Publishing Office: 175 Whitney Avenue, New Haven, Connecticut
Publication number (usps 078-500)
The closing date for material in this bulletin was July 10, 2006.
The University reserves the right to withdraw or modify the courses of instruction or to
change the instructors at any time.
©
2006 by Yale University. All rights reserved. The material in this bulletin may not be
reproduced, in whole or in part, in any form, whether in print or electronic media, without
written permission from Yale University.
The University is committed to basing judgments concerning the admission, education, and
employment of individuals upon their qualifications and abilities and affirmatively seeks to
attract to its faculty, staff, and student body qualified persons of diverse backgrounds. In
accordance with this policy and as delineated by federal and Connecticut law, Yale does not
discriminate in admissions, educational programs, or employment against any individual on
account of that individual’s sex, race, color, religion, age, disability, status as a special disabled
veteran, veteran of the Vietnam era, or other covered veteran, or national or ethnic origin;
nor does Yale discriminate on the basis of sexual orientation or gender identity or expression.
University policy is committed to affirmative action under law in employment of women,
minority group members, individuals with disabilities, special disabled veterans, veterans of
the Vietnam era, and other covered veterans.
Inquiries concerning these policies may be referred to Valerie O. Hayes, Special Adviser
to the Provost and Director of the Office for Equal Opportunity Programs, 104 William L.
Harkness Hall, 203.432.0849.
In accordance with both federal and state law, the University maintains information con-
cerning current security policies and procedures and prepares an annual crime report con-
cerning crimes committed within the geographical limits of the University. Upon request
to the Office of the Secretary of the University, PO Box 208230, New Haven ct 06520-8230,
203.432.2310, the University will provide such information to any applicant for admission.
In accordance with federal law, the University prepares an annual report on participation
rates, financial support, and other information regarding men’s and women’s intercollegiate
athletic programs. Upon request to the Director of Athletics, PO Box 208216, New Haven
ct 06520-8216, 203.432.1414, the University will provide its annual report to any student or
prospective student.
For all other matters related to admission to the School of Drama, please telephone the
Admissions Office, 203.432.1507.
Equal Opportunity Statement amended September 28, 2006.
School of Drama
2006
–
2007
b u l l e t i n o f ya l e u n i v e r s i t y
Series 102 Number 12 August 30, 2006
b u l l e t i n o f ya l e u n i v e r s i t y
New Haven c t 06520-8227
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