Introduction to Performance |
1101 (001) |
Sungjae Lee |
Tues
9:00 AM - 3:00 PM
In Person
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Description
This course introduces the student to a wide spectrum of performance forms including performance in every day life, rituals, folk forms, artists' actions, experimental dance and theatre, activist performance, and intermedia forms. Students learn the history of performance practices, explore theoretical issues , and develop individual and collaborative works. Primarily a beginner's course but open to all levels of students.
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Class Number
1563
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Credits
3
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Department
Performance
Area of Study
Gender and Sexuality
Location
MacLean 2M
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Introduction to Performance |
1101 (002) |
Joseph Ravens/Rabensdorf |
Mon/Wed
6:45 PM - 9:15 PM
In Person
|
Description
This course introduces the student to a wide spectrum of performance forms including performance in every day life, rituals, folk forms, artists' actions, experimental dance and theatre, activist performance, and intermedia forms. Students learn the history of performance practices, explore theoretical issues , and develop individual and collaborative works. Primarily a beginner's course but open to all levels of students.
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Class Number
1568
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Credits
3
|
Department
Performance
Area of Study
Gender and Sexuality
Location
280 Building Rm 012
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Movement and Presence: The Body as Site |
2003 (001) |
Ginger Krebs |
Thurs
9:00 AM - 3:00 PM
In Person
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Description
Body As Site is a laboratory for body-based research. Students will be guided to expand the range of ways they move and the kinds of presence they can bring to live art by experimenting with balance, breath, vision, speed, continuity/interruption, and more. The class also introduces research and compositional strategies for generating and developing movement for performance. Working back and forth between improvisational and choreographic modes, students will develop projects that further their individual interests and goals.
Course work includes compositional games like the Viewpoints and somatic practices like contact improvisation and butoh. We will look at work by artists including Milka Djordjevich, Tatsumi Hijikata, Tere O?Connor, Okwui Okpokwasili and Jacolby Satterwhite, and documentaries like Paris Is Burning, Pina and Rize. Occasionally short readings will be assigned by writers like Eugenio Barba, Coco Fusco or Susan Rethorst.
Students will build performances by responding to objects, sites, rhythms, human collaborators and local live performances. By the end of the semester, students will have presented three substantial performances for critique, and produced many in-class ?micro-performances?- nearly one per week.
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Class Number
2155
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Credits
3
|
Department
Performance
Location
280 Building Rm 012
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Motion Lab: An embodied Laboratory of Moving Strategies and Interpretation |
2021 (001) |
Erica R. Mott |
Mon
9:00 AM - 3:00 PM
In Person
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Description
Motion Lab is a hands on learning laboratory for movement. Students will learn different choreographic improvisation and somatic strategies including Laban and Alexander Technique, Graphic/visual and poetic scoring. Students will experiment, share and stage completed movement works. Pulling from the movement strategies of Internationally recognized choreographers and physical performance practicioners such as Johnathan Burrows, Deborah Hay, The Judson Church, SITI Co/Mary Overly/Viewpoints, La Pocha Nostra and Katherine Dunham, students will view critical works, test choreographic strategies and develop their own works. All assignments and exercises are movement based leading to the development of fully realized and staged works by the end of the semester.
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Class Number
2162
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Credits
3
|
Department
Performance
Area of Study
Playwriting/Screenwriting, Public Space, Site, Landscape, Gender and Sexuality
Location
280 Building Rm 012
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Performing Disability: Access and Impairment as Method |
2022 (001) |
|
Wed
12:15 PM - 3:00 PM
In Person
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Description
This studio course will examine the ways that disabled artists use their experiences of impairment to create their work. Through showings and critique, group discussions, engagement with work by and about disability art, and critical reflections, we will explore disability and access as political, social, and deeply embodied phenomena. Together, we will embody and explore practices developed by disabled artists, ultimately reaching toward a disability-informed method of making, rehearsing, and producing performance. We will engage with disability art emerging across various mediums and historical moments, such as work by Kinetic Light, Sins Invalid, Finnegan Shannon, Kayla Hamilton, Alex Dolores Salerno, Andy Slater, Matt Bodett, Jerron Herman, Molly Joyce, Shireen Hamza, Alison Kopit, Christine Sun Kim, Risa Puleo, Larissa Velez Jackson and others, as well as historical sites of disability performance such as freak shows, institutions, and medical spaces. Course work will consist of engagement with assigned materials, a personal Access Statement, one presentation on a disabled artist of your choosing, participation in class discussions, and three short performance projects.
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Class Number
2157
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Credits
3
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Department
Performance
Area of Study
Art/Design and Politics
Location
MacLean 2M
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Reality TV |
3031 (001) |
Maire Witt O'Neill |
Fri
9:00 AM - 3:00 PM
In Person
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Description
This course offers various topics in contemporary performance. These topics could social practice (e.g. relational art, activism, community-based performance, vernacular performance, performance in everyday life), immersive theatre (e.g. environmental design, interactive architecture, augmented reality), site-specific performance, and art-science collaborations
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Class Number
1567
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Credits
3
|
Department
Performance
Location
MacLean 2M
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Performance Topics |
3031 (002) |
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Wed
9:00 AM - 3:00 PM
In Person
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Description
This course offers various topics in contemporary performance. These topics could social practice (e.g. relational art, activism, community-based performance, vernacular performance, performance in everyday life), immersive theatre (e.g. environmental design, interactive architecture, augmented reality), site-specific performance, and art-science collaborations
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Class Number
2159
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Credits
3
|
Department
Performance
Location
280 Building Rm 012
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Without Walls - Puppetry In the Outdoors |
3031 (003) |
Blair Thomas |
Fri
9:00 AM - 3:00 PM
In Person
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Description
Combining both medieval and contemporary performance practices, this class probes the possibilities of object and figure theater performance in the outdoor setting. We will examine the Renaissance spectacles of Piero di Cosimo, the Eastern European Happenings, the public ceremonies of Welfare State International and the street protest of Bread & Puppet Theater. Exercises will explore the making of large-scale graphic image making, such as Cantastoria, Banners and Scrolls. Through group collaborations the class will learn giant puppet making techniques and construction. The class will culminate in an all class outdoor spectacle.
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Class Number
2291
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Credits
3
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Department
Performance
Location
280 Building Rm 012
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Expanded Line |
3039 (001) |
Jonas Müller-Ahlheim, Camille Casemier Johnson |
Sat
10:00 AM - 4:00 PM
In Person
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Description
This course looks at the role of the observer and the performer through drawing and performance. Both practices respond to each other by mapping movement and moving mappings. We explore performance through drawing as a description, a medium, and a score for an embodied gesture. We use drawing to imagine movement and to move concepts, in which lines can act as tracing and foreseeing. Performances become descriptions and embodied marks and vice versa. We will look at performance art, presence practice, being seen and remarking on what will remain unseen, scores, methods of performance documentation and notation, as well as drawing as an embodied mark making and thinking process. We will look at artists like Francis Alÿs, Lygia Pape, The Gutai Group, Valie Export, Remy Charlip, Amy Sillman, among many other artists at the intersection of drawing as a performance practice like Janine Antoni, David Hammons, Stanley Brown, Raven Chacon, Joan Jonas; Artists in conversations such as Paul Chan and Martha Rosler, John Divola and William Camargo, Matthew Goulish and Lin Hixson. We will work through texts like Keeping Score: Notation, Embodiment, and Liveness by Hendrik Folkerts, Walkaround Time: Dance and Drawing in the Twentieth Century by Cornelia H. Butler, The Aesthetics of the Performative by Erika Fischer Lichte, Death of the Author by Roland Barthes, and How to Disappear: Notes on Invisibility in a Time of Transparency by Akiko Busch. Working in and with public space as surface, students should expect to blur the lines between traditional and non-traditional drawings and performances. All formats will be approachable, self determined, nothing more or less than walking if you so choose.
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Class Number
2260
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Credits
3
|
Department
Performance
Area of Study
Community & Social Engagement, Public Space, Site, Landscape
Location
280 Building Rm 012
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Expanded Line |
3039 (001) |
Jonas Müller-Ahlheim, Camille Casemier Johnson |
Sat
10:00 AM - 4:00 PM
In Person
|
Description
This course looks at the role of the observer and the performer through drawing and performance. Both practices respond to each other by mapping movement and moving mappings. We explore performance through drawing as a description, a medium, and a score for an embodied gesture. We use drawing to imagine movement and to move concepts, in which lines can act as tracing and foreseeing. Performances become descriptions and embodied marks and vice versa. We will look at performance art, presence practice, being seen and remarking on what will remain unseen, scores, methods of performance documentation and notation, as well as drawing as an embodied mark making and thinking process. We will look at artists like Francis Alÿs, Lygia Pape, The Gutai Group, Valie Export, Remy Charlip, Amy Sillman, among many other artists at the intersection of drawing as a performance practice like Janine Antoni, David Hammons, Stanley Brown, Raven Chacon, Joan Jonas; Artists in conversations such as Paul Chan and Martha Rosler, John Divola and William Camargo, Matthew Goulish and Lin Hixson. We will work through texts like Keeping Score: Notation, Embodiment, and Liveness by Hendrik Folkerts, Walkaround Time: Dance and Drawing in the Twentieth Century by Cornelia H. Butler, The Aesthetics of the Performative by Erika Fischer Lichte, Death of the Author by Roland Barthes, and How to Disappear: Notes on Invisibility in a Time of Transparency by Akiko Busch. Working in and with public space as surface, students should expect to blur the lines between traditional and non-traditional drawings and performances. All formats will be approachable, self determined, nothing more or less than walking if you so choose.
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Class Number
2260
|
Credits
3
|
Department
Performance
Area of Study
Community & Social Engagement, Public Space, Site, Landscape
Location
280 Building Rm 012
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Performing (the) Social: Social Practice and Performance Art |
3058 (001) |
Trevor Martin |
Tues
3:30 PM - 6:15 PM
In Person
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Description
This studio seminar examines an evolving discourse around socially engaged artworks as they intersect with live performance. With particular emphasis on Chicago and its extended community of social practitioners?both artists and activists?and informed by the legacy of Chicago's own Jane Addams and John Dewey, this course investigates the social and communal realms of performance through the works of both local and international artists. Through the class, students will become familiar with the fields of performance and social practice and gain skills for engaging communities in their own practice.
This course considers a variety of sources including the writings and scholarshop of Erving Goffman, Arnold Van Gennep, John Dewey, Shannon Jackson, Tom Finkelpearl, Mary Jane Jacob, and Grant Kester as well as the creative practices of Tania Bruguera, Michael Rakowitz, Suzanne Lacy, Rhodessa Jones, Augusto Boal, Rirkrit Tiravanija, Emmanuel Pratt, Theaster Gates, Rick Lowe, and others.
Course work includes the creation of two individual performance projects, a mid-term research presentation with written critical response, readings and screenings with attendant discussion and written reflections.
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Class Number
1566
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Credits
3
|
Department
Performance
Area of Study
Community & Social Engagement
Location
MacLean 2M
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PS:Crossing Borders |
4005 (001) |
Roberto Sifuentes |
Tues
9:00 AM - 3:00 PM
In Person
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Description
This studio class draws on an eclectic blend of original 'Pocha Nostra' research-based performance exercises investigating 'living dioramas', experimental performance methodologies, Suzuki, dance, ritual practice, conflict resolution techniques and other strategic forms. The techniques evolve from sacred and intimate spaces of human presence, to baroque, highly aesthetic and politicized performances of living murals, human altars, and performance jam sessions. Students create 'hybrid personas,' short performances, spoken word texts, and/or visual media pieces based on their own complex identities and personal sense of politics, race, and gender. Readings and discussions focus on performance theory, popular culture and cultural politics.
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Class Number
1560
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Credits
3
|
Department
Performance
Location
280 Building Rm 012
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PS:Event Production |
4005 (002) |
Joshua Hoglund |
Thurs
3:30 PM - 9:15 PM
In Person
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Description
EVENT/PRODUCTION is a collaborative workshop in which participants will self-produce two public performances. In this class we will hone our production skills to present and contextualize individual and group performances. Considering future-audiences, we will work through notions of genealogy, community/collectivity, and ¿the public'. Through collaborative research and by welcoming visiting performance practitioners, producers, and curators in the classroom, we will explore histories of DIY performance, artist-led spaces and institutionalized performance presented in the `Fine Art¿ context of the museum or gallery. Solo and group performance works will evolve through focused study of technical production skills including stage lighting, sound, cueing software (Qlab, OBS) and projection/live-feeds and streams. With emphasis on accessibility, we will program and present two public festivals of new performance.
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Class Number
1561
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Credits
3
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Department
Performance
Location
280 Building Rm 012
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Graduate Performance Seminar |
5016 (001) |
Vanessa Damilola Macaulay |
Thurs
12:15 PM - 3:00 PM
In Person
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Description
A laboratory for experiment in terms of thought and action, this interdisciplinary critique seminar explores a series of key contemporary themes and issues in the area of live art. The course aims to be both topical and provocative, and as participants, you are invited to take a position (or play devil¿s advocate) in relation to a series of burgeoning topics and issues that are currently forming contemporary discourses concerning art and performance. In particular, this class will have a specific emphasis on interrogating presentational modes and discursive techniques. Through readings, discussion, and presentations, students will have an active stake in the form and nature of these discussions. The course is structured in two parts. In the first part, classes will focus on the activation and physicalization of what we have read. We will undertake practical workshops, embodied theory, provocations, and performance actions as a means of enacting the discourses we have explored. Students will examine their multidisciplinary work through the lens of performance. In the second part of the course, each student will present their current practice in the form of a performance, studio visit or other mode best suited for their work. Various guest artists, scholars and curators will be invited to participate in these final studio critiques.
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Class Number
2074
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Credits
3
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Department
Performance
Location
MacLean 2M
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Grad Projects:Performance |
6009 (001) |
Vanessa Damilola Macaulay |
TBD - TBD
In Person
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Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
Prerequisites
Open to MFA, MFAW and MAVCS students only
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Class Number
2342
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Credits
3 - 6
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Department
Performance
Location
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Grad Projects:Performance |
6009 (002) |
Roberto Sifuentes |
TBD - TBD
In Person
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Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
Prerequisites
Open to MFA, MFAW and MAVCS students only
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Class Number
2343
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Credits
3 - 6
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Department
Performance
Location
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Grad Projects:Performance |
6009 (003) |
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TBD - TBD
In Person
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Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
Prerequisites
Open to MFA, MFAW and MAVCS students only
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Class Number
2344
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Credits
3 - 6
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Department
Performance
Location
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