Courses

Students diagramming ideas about power.

Fall/Winter 2018-2019 Course Offerings

Degree Requirements

MA and PhD students are required to take:

  • Theatre & Performance Studies Colloquium (Non-credit, THST 5052)
  • An approved Research Methodology course of at least 3.0 credits;
  • An approved Canadian Theatre course of at least 3.0 credits;
  • A Theatre & Performance Studies (THST) course of at least 3.0 credits that is aligned with the program's subfields.

In addition, MA students are required to complete a professional placement for course credit (THST 5051 3.0)

Fall 2018 Courses

Theatre & Performance Studies Colloquium

Course Code: THST 5052 (3.0)
Day/Time: Wednesday 10:00-11:30
Instructor: Magdalena Kazubowski-Houston

  • THST 5052 3.0 Theatre & Performance Studies Colloquium
    This course discusses research approaches, pedagogical strategies, and various aspects of professional development within theatre and performance studies.  This course is required for and only open to Theatre & Performance Studies MA students and first year PhD students.

Performance Creation III

Course Code: THEA 5077 (3.0)
Day/Time: Monday 18:00/Wednesday 14:00
Instructor: Erika Batdorf

  • THEA 5077 3.0 Solo Performance Creation III
    This course is designed to support artists in the process of learning to create their own performance material from generation to structuring work in the artists medium(s) and expanding their vision beyond their typical medium. It covers both practical and artistic challenges in the process as well as principles of composition in time and space. The course also addresses broad issues related to sustainability in the current arts ecology. The class is lead through specific structured sourcing exercises and then the students present work for feedback from the group and the instructor. The student work on their own independent 10+ minute piece for a final presentation. This class can encompass any artistic medium (dance, installation, digital media, theatre, music, live art…). Although presentation of material is a part of the class, the class focuses on creation rather than performance. 5078 is designed to follow this class in second term and take the work created in 5077 into an actual production. Prerequisites: Some studio and/or performance creation training, submission of a resume, a statement addressing why they want to take the class and permission of the course director is required. If possible, but not required, please submit video, audio and/or portfolio that demonstrates the students medium and experience.

Research Methods

Course Code: THST 5200 (3.0)
Day/Time: Thursday 13:00 - 16:00
Instructor: Patrick Alcedo

  • THST 5200 3.0 Research Methods (Cross-listing of DANC 5200)
    This course introduces fundamental methodological and theoretical tools used by scholars in coming to terms with the complexity of the dancing body. In closely examining these tools, students are exposed to the vast terrain and interdisciplinary nature of dance studies. Although the course’s center of gravity lies in dance scholarship, key texts from the fields of cultural anthropology, performance studies, history, critical theory, ethnomusicology, and cultural studies are carefully considered. These texts situate dance in relation to social and cultural identity; gender and sexuality; the local and the global; and colonialism and postcoloniality. Understanding dance from multiple perspectives promotes openness towards other methods and theoretical orientation

Ethnographic Methodology

Course Code: THST 6328 (3.0)
Day/Time: Monday 11:30
Instructor: Magdalena Kazubowski-Houston

THST 6328 3.0 Ethnographic Methodology

  • The course rethinks the scope and role of ethnography in performance studies research in relation to ethnography's anthropological historicity and current debates in anthropology, performance studies, communication studies, and cultural studies. The ethics/politics of ethnographer-participant relations, knowledge production and representation, and ethnographic advocacy will be examined through a study of selected critical, reflexive, collaborative, embodied and multisensory approaches to ethnographic research in diverse socio-cultural contexts. The course also involves a series of practical exercises in conducting participant observation and interviews, consent form preparation, field note writing and research analysis.

Theatre & Performance in the Americas

Course Code: THST 6600 (3.0)
Day/Time: Wednesday 14:30
Instructor: Alberto Guevara

 THST 6600 3.0 Theatre & Performance in the Americas

  • Drawing on examples from theatre and performances of the Americas (with an emphasis on First Nations Theatre and Performance), this course examines the use of theatre, spectacle, and theatricality- by the state, by oppositional groups, and by performance practitioners - to establish or challenge structures of power.

Suffrage and Sexuality on the Stage

Course Code: THST 6990 (3.0)
Day/Time: Tuesday 19:00 - 22:00
Instructor: Kym Bird

THST 6990 3.0 Suffrage and Sexuality on the Stage

  • This course reads the performances and biographical contexts of turn-of-the-twentieth century women playwrights in as they intersect with suffrage, sexuality and the cultural legacies of colonialism and imperialism on stages in Britain, the United States and Canada.

La sémiotique du théâtre

Course Code: FREN 5224 (3.0)
Day/Time: TBA
Instructor: Guillaume Bernardi

FREN 5524 3.0 La sémiotique du théâtre

  • Forthcoming

Theatre & Performance Studies Professional Placement

Course Code: THST 5051 (3.0)
Day/Time: N/A
Instructor: N/A

  • THST 5051 3.0 Theatre Studies Professional Placement
    This course is designed to give graduate students applied, professionally–oriented work experience in a field related to one of the program’s fields of specialization and/or the student’s research areas. Note: THST 5051 is REQUIRED for MA students, but PhD students may opt to take this as an elective.

Independent Study

Course Code: THST 6500A (3.0)
Day/Time: Application Only
Instructor: Apply to desired supervisor

  • THST 6500 3.0 Independent Study
    This course is an opportunity for advanced research and in–depth reading in areas related to students’ research interests. Requests for an Independent Study course must be accompanied with an Independent Study Proposal (With the permission of the Graduate Program Director) Independent Studies Application.

Winter 2019 Courses

Theatre & Performance Studies Colloquium

Course Code: THST 5052 (3.0)
Day/Time: Wednesday 10:00-11:30
Instructor: Magdalena Kazubowski-Houston

  • THST 5052 Theatre & Performance Studies Colloquium
    This course discusses research approaches, pedagogical strategies, and various aspects of professional development within theatre and performance studies.  This course is required for and only open to Theatre & Performance Studies MA students and first year PhD students.

Producing Independent Performance

Course Code: THEA 5078 (3.0)
Day/Time: TBA
Instructor: Erika Batdorf

  • THEA 5078 3.0 Producing Independent Performance
    Business related aspects of producing independent performance work in any medium. People will continue to show material created in previous classes but course material will focus on business versus artistic elements of the industry; grant writing, budgeting, press materials, pitching, promo kits, documentation, touring, tech riders, fundraising and producing - all focused on their own devised or created material. Prerequisites: Theatre 5075 3.0 OR 5077 3.0

Performing Memory and Memorial

Course Code: THST 5022 (3.0)
Day/Time: Thursday 14:30
Instructor: Belarie Zatzman

  • THST 5022 3.0 Performing Memory & Memorial
    Beginning with an examination of aesthetic responses to the rupture that is the Shoah as a case study, this course explores multiple conceptions and representations of memory, memorial practices and pedagogy across a range of other histories, issues and sites.

Performance and Culture

Course Code: THST 5020 (3.0)
Day/Time: Wednesday 14:30 - 17:30
Instructor: TBA

 THST 5020 3.0 Performance and Culture

  • This course examines the current range of contemporary scholarship that employs performance as a tool for analyzing cultural processes.  Inherently interdisciplinary in scope, the seminar engages with recent performance studies scholarship and its intersections with critical race theory, historiography, cultural studies, museum studies, technology studies, and popular culture.

Redressing the Canon: Shakespeare and Contemporary Drama

Course Code: EN 6564 (3.0)
Day/Time: Tuesday 11:30
Instructor: Liz Pentland

  • THST 6564 3.0 Redressing the Canon: Shakespeare and Contemporary Drama
    In this seminar we will explore the complexities of Shakespearean adaptation by setting three of his best known plays—Hamlet, Othello, and The Tempest—in dialogue with contemporary stage adaptations that engage the originals from a variety of critical perspectives. Special attention will be paid to the cultural politics of producing Shakespeare in the twentieth and twenty–first centuries with respect to questions of race, class, gender and sexuality, colonialism, and language. As part of our work for this course, we will also consider some well-known international film adaptations from Grigori Kozintsev’s Hamlet (1965) to Vishal Bharadwaj’s Omkara (2006). How are Shakespeare’s plays or even what some critics have called “the Shakespeare effect” problematic for contemporary playwrights and film makers, and to what extent has “Shakespeare,” in the age of globalization, provided a common language or meeting ground for larger cultural or political conversations?

Staging South African Theatre-Post Apartheid

Course Code: THST 6542 (3.0)
Day/Time: Tuesday 14:30
Instructor: Marcia Blumberg

  • THST 6542 3.0 Staging South African Theatre-Post Apartheid
    This course addresses new directions in the politics of South Africa and its relation to
    theatre and performance. It situates theatre texts historically, aesthetically, theoretically, and politically, analyzes them as vehicles for social and political intervention, and explores representations of race, class and gender, identity issues, and networks of power in the plays. It examines a diverse range of theatrical performance including naturalistic plays, multi-media performance, syncretic modes of performance involving cultural fusion, educational and activist initiatives, and solo shows.

Advanced Research and Dissertation Seminar

Course Code: DANC 6200 3.0
Day/Time: Tuesday 13:00
Instructor: Mary Fogarty

  • DANCE 6200 3.0 Advanced Research and Dissertation Seminar
    Provides a framework within which PhD candidates meet together to explore the methodologies and approaches to scholarly writing that are relevant to their research areas.

The Interactive Stage: Explorations in Electronically Mediated Performances

Course Code: THEA 5221 (3.0)
Day/Time: Friday 13:00 - 16:00
Instructor: William Mackwood

  • THEA 5221 3.0 The Interactive Stage: Explorations in Electronically Mediated Performances (Cross listed with DANC 5221)
    This course explores the creation of interactive stage environments for live performance. Students investigate various strategies whereby on-stage 'events' (physical, vocal, physiological, etc.) manipulate audio, video and/or lighting events. Students are introduced to dedicated interactive and show control software, and become adept at programming interactive environments. Prerequisite: Fine Arts Fine Arts Cultural Studies 2936 3.0 or Dance 3220 3.0 or Dance 4220 3.0 or equivalent or permission of the instructor

Theatre and Performance Studies Professional Placement

Course Code: THST 5051 (3.0)
Day/Time: N/A
Instructor: N/A

  • THST 5051 3.0 Theatre and Performance Studies Professional Placement
    This course is designed to give graduate students applied, professionally–oriented work experience in a field related to one of the program’s fields of specialization and/or the student’s research areas. Note: THST 5051 is REQUIRED for MA students, but PhD students may opt to take this as an elective.

Independent Study

Course Code: THST 6500A (3.0)
Day/Time: Application Only
Instructor: Apply to desired supervisor

  • THST 6500A 3.0 Independent Study
    This course is an opportunity for advanced research and in–depth reading in areas related to students’ research interests. Requests for an Independent Study course must be accompanied with an Independent Study Proposal (With the permission of the Graduate Program Director) Independent Studies Application.

Summer 2019 Courses

Summer Institute

Course Code: TBA
Day/Time: TBA
Instructor: TBA

  •  3.0 Summer Institute

Theatre & Performance Studies Professional Placement

Course Code: THST 5051 (3.0)
Day/Time: N/A
Instructor: N/A

  • THST 5051 3.0 Theatre Studies Professional Placement
    This course is designed to give graduate students applied, professionally–oriented work experience in a field related to one of the program’s fields of specialization and/or the student’s research areas. Note: THST 5051 is REQUIRED for MA students, but PhD students may opt to take this as an elective.

Independent Study

Course Code: THST 6500 (3.0)
Day/Time: Application Only
Instructor: Apply to desired supervisor

  • THST 6500 3.0 Independent Study
    Requests for an Independent Study course must be accompanied with an Independent Study Proposal (With the permission of the Graduate Program Director) Independent Studies Application.

Schedule is subject to change. For classroom locations and catalogue numbers, please click here.  Summer 2019 courses will not be available for enrollment until March 2019.

Courses that can be used to fulfill the Research Methodology requirement:

THST 5200 3.0 Research Methods

Course Code: THST 5200 (3.0)
Day/Time: Thursday 13:00 - 16:00
Instructor: Patrick Alcedo

  • This course introduces fundamental methodological and theoretical tools used by scholars in coming to terms with the complexity of the dancing body. In closely examining these tools, students are exposed to the vast terrain and interdisciplinary nature of dance studies. Although the course’s center of gravity lies in dance scholarship, key texts from the fields of cultural anthropology, performance studies, history, critical theory, ethno musicology, and cultural studies are carefully considered. These texts situate dance in relation to social and cultural identity; gender and sexuality; the local and the global; and colonialism and post coloniality. Understanding dance from multiple perspectives promotes openness towards other methods and theoretical orientations.

THST 6328 3.0 Ethnographic Methodology

Course Code: THST 6328 (3.0)
Day/Time: Monday 11:30
Instructor: Magdalena Kazubowski-Houston

THST 6328 3.0 Ethnographic Methodology

  • The course rethinks the scope and role of ethnography in performance studies research in relation to ethnography's anthropological historicity and current debates in anthropology, performance studies, communication studies, and cultural studies. The ethics/politics of ethnographer-participant relations, knowledge production and representation, and ethnographic advocacy will be examined through a study of selected critical, reflexive, collaborative, embodied and multisensory approaches to ethnographic research in diverse socio-cultural contexts. The course also involves a series of practical exercises in conducting participant observation and interviews, consent form preparation, field note writing and research analysis.

THST 5020 3.0 Performance and Culture

Course Code: THST 5020 (3.0)
Day/Time: Wednesday 14:30 - 17:30
Instructor: TBA

 THST 5020 3.0 Performance and Culture

  • This course examines the current range of contemporary scholarship that employs performance as a tool for analyzing cultural processes.  Inherently interdisciplinary in scope, the seminar engages with recent performance studies scholarship and its intersections with critical race theory, historiography, cultural studies, museum studies, technology studies, and popular culture.

Courses that can be used to fulfill the Canadian Theatre requirement:

THST 5022 3.0 Performing Memory & Memorial

Course Code: THST 5022 (3.0)
Day/Time: Thursday 14:30
Instructor: Belarie Zatzman

THST 5022 3.0 Performing Memory & Memorial

  • Beginning with an examination of aesthetic responses to the rupture that is the Shoah as a case study, this course explores multiple conceptions and representations of memory, memorial practices and pedagogy across a range of other histories, issues and sites.

THST 5020 3.0 Performance and Culture

Course Code: THST 5020 (3.0)
Day/Time: Wednesday 14:30 - 17:30
Instructor: TBA

 THST 5020 3.0 Performance and Culture

  • This course examines the current range of contemporary scholarship that employs performance as a tool for analyzing cultural processes.  Inherently interdisciplinary in scope, the seminar engages with recent performance studies scholarship and its intersections with critical race theory, historiography, cultural studies, museum studies, technology studies, and popular culture.

THST 6600 3.0 Theatre & Performance in the Americas

Course Code: THST 6600 (3.0)
Day/Time: Wednesday 14:30
Instructor: Alberto Guevara

 THST 6600 3.0 Theatre & Performance in the Americas

  • Drawing on examples from theatre and performances of the Americas (with an emphasis on First Nations Theatre and Performance), this course examines the use of theatre, spectacle, and theatricality- by the state, by oppositional groups, and by performance practitioners - to establish or challenge structures of power.

THST 6990 3.0 Suffrage and Sexuality on the Stage

Course Code: THST 6990 (3.0)
Day/Time: Tuesday 19:00 - 22:00
Instructor: Kym Bird

THST 6990 3.0 Suffrage and Sexuality on the Stage

  • This course reads the performances and biographical contexts of turn-of-the-twentieth century women playwrights in as they intersect with suffrage, sexuality and the cultural legacies of colonialism and imperialism on stages in Britain, the United States and Canada.

Courses that can be used to fulfill the sub-fields requirement:

THST 5022 3.0 Performing Memory and Memorial

  • Beginning with an examination of aesthetic responses to the rupture that is the Shoah as a case study, this course explores multiple conceptions and representations of memory, memorial practices and pedagogy across a range of other histories, issues and sites.

THST 5020 3.0 Performance and Culture

  • This course examines the current range of contemporary scholarship that employs performance as a tool for analyzing cultural processes.  Inherently interdisciplinary in scope, the seminar engages with recent performance studies scholarship and its intersections with critical race theory, historiography, cultural studies, museum studies, technology studies, and popular culture.

THST 5200 3.0 Research Methods (Cross-listing of DANC 5200 3.0)

  • This course introduces fundamental methodological and theoretical tools used by scholars in coming to terms with the complexity of the dancing body.  In closely examining these tools, students are exposed to the vast terrain and interdisciplinary nature of dance studies.  Although the course's centre of gravity lies in dance scholarship, key texts from the fields of cultural anthropology, performance studies, history, critical theory, ethnomusicology, and cultural studies are carefully considered.

THST 6328 3.0 Ethnographic Methodology

  • The course rethinks the scope and role of ethnography in performance studies research in relation to ethnography's anthropological historicity and current debates in anthropology, performance studies, communication studies, and cultural studies. The ethics/politics of ethnographer-participant relations, knowledge production and representation, and ethnographic advocacy will be examined through a study of selected critical, reflexive, collaborative, embodied and multisensory approaches to ethnographic research in diverse socio-cultural contexts. The course also involves a series of practical exercises in conducting participant observation and interviews, consent form preparation, field note writing and research analysis.

EN 6564 3.0 Redressing the Canon: Shakespeare and Contemporary Drama

  • In this seminar we will explore the complexities of Shakespearean adaptation by setting three of his best known plays—Hamlet, Othello, and The Tempest—in dialogue with contemporary stage adaptations that engage the originals from a variety of critical perspectives. Special attention will be paid to the cultural politics of producing Shakespeare in the twentieth and twenty–first centuries with respect to questions of race, class, gender and sexuality, colonialism, and language. As part of our work for this course, we will also consider some well-known international film adaptations from Grigori Kozintsev’s Hamlet (1965) to Vishal Bharadwaj’s Omkara (2006). How are Shakespeare’s plays or even what some critics have called “the Shakespeare effect” problematic for contemporary playwrights and film makers, and to what extent has “Shakespeare,” in the age of globalization, provided a common language or meeting ground for larger cultural or political conversations?

THST 6542 3.0 Staging South African Theatre-Post Apartheid

  • This course addresses new directions in the politics of South Africa and its relation to
    theatre and performance. It situates theatre texts historically, aesthetically, theoretically, and politically, analyzes them as vehicles for social and political intervention, and explores representations of race, class and gender, identity issues, and networks of power in the plays. It examines a diverse range of theatrical performance including naturalistic plays, multi-media performance, syncretic modes of performance involving cultural fusion, educational and activist initiatives, and solo shows.

THST 6600 3.0 Theatre & Performance in the Americas

  • Drawing on examples from theatre and performances of the Americas (with an emphasis on First Nations Theatre and Performance), this course examines the use of theatre, spectacle, and theatricality- by the state, by oppositional groups, and by performance practitioners - to establish or challenge structures of power.

THST 6990 3.0 Suffrage and Sexuality on the Stage

  • This course reads the performances and biographical contexts of turn-of-the-twentieth century women playwrights in as they intersect with suffrage, sexuality and the cultural legacies of colonialism and imperialism on stages in Britain, the United States and Canada.

THEA 5077 3.0 Performance Creation III

  • This course is designed to support artists in the process of learning to create their own performance material from generation to structuring work in the artists medium(s) and expanding their vision beyond their typical medium. It covers both practical and artistic challenges in the process as well as principles of composition in time and space. The course also addresses broad issues related to sustainability in the current arts ecology. The class is lead through specific structured sourcing exercises and then the students present work for feedback from the group and the instructor. The student work on their own independent 10+ minute piece for a final presentation. This class can encompass any artistic medium (dance, installation, digital media, theatre, music, live art…). Although presentation of material is a part of the class, the class focuses on creation rather than performance. 5078 is designed to follow this class in second term and take the work created in 5077 into an actual production. Prerequisites: Some studio and/or performance creation training, submission of a resume, a statement addressing why they want to take the class and permission of the course director is required. If possible, but not required, please submit video, audio and/or portfolio that demonstrates the students medium and experience.

THEA 5078 3.0 Producing Independent Performance

  • Business related aspects of producing independent performance work in any medium. People will continue to show material created in previous classes but course material will focus on business versus artistic elements of the industry; grant writing, budgeting, press materials, pitching, promo kits, documentation, touring, tech riders, fundraising and producing - all focused on their own devised or created material. Prerequisites: Theatre 5075 3.0 OR 5077 3.0

THEA 5221 3.0 The Interactive Stage: Explorations in Electronically Mediated Performances (Cross listed with DANC 5221)

  • This course explores the creation of interactive stage environments for live performance. Students investigate various strategies whereby on-stage 'events' (physical, vocal, physiological, etc.) manipulate audio, video and/or lighting events. Students are introduced to dedicated interactive and show control software, and become adept at programming interactive environments. Prerequisite: Fine Arts Fine Arts Cultural Studies 2936 3.0 or Dance 3220 3.0 or Dance 4220 3.0 or equivalent or permission of the instructor

FREN 5224 3.0 La sémiotique du théâtre

  • Forthcoming

3.0 Summer Institute

  • This course is intended to provide graduate students with unique opportunities to study with a range of visiting artists/scholars in applied research areas.

*Please note: Though many of these courses fulfill more than one course requirement, you may not use one course to satisfy two requirements - you must take one course per requirement.

 

Cognate Courses

The Cognate Course listing highlights courses that are regularly offered by outside departments and which may be of interest to students in the Theatre & Performance Studies MA/PhD program. These courses may be taken to fulfill elective coursework requirements. Students are expected to choose courses that are applicable to their research projects and areas of specialization in Theatre & Performance Studies. To enroll in these courses, you must receive permission from the department that is offering the course, and the Graduate Program in Theatre & Performance Studies. Please complete the Letter of Permission form and submit to the graduate program office.

NOTE: This isn’t an exhaustive list of all possible cognate courses being offered, and we strongly encourage our students take advantage of courses in both the School of Arts, Media, Performance, and Design, and throughout the university, in order to develop as interdisciplinary thinkers.  Students may also request permission to take graduate level courses not listed here, provided that they are related to the student’s research interests. The courses website provides detailed information on all courses offered in a given term.  For course descriptions, you can search here.

ANTH 5010 3.0 Theory in Social Anthropology

  • Particular emphasis is placed on the major theorists of this century and on contemporary theoretical frameworks and models for analysis. The course includes critical study of recent major theoretical works in social anthropology.

ANTH 5020 3.0 Methods in Social Anthropology

  • Provides a general overview of research methodology. Its primary focus is on the nature of anthropological field work and the traditional data gathering techniques which flow from our role as participant observers. Lectures and class discussions are supplemented by practical exercises in interviewing, census taking, questionnaire construction and the use of computers. The course examines the multi-faceted role of the field worker in the context of the rapidly changing social reality within which modern anthropological research takes place.

ANTH 5030 3.0 Critical Political Ecologies

  • This course explores how power and knowledge shape intertwined social and ecological relationships, drawing on theoretically-informed ethnographies and other empirical studies, with an emphasis on global south research.

ANTH 5155 3.0 Anthropology, Art, Aesthetics and Material

ANTH 5160 3.0 Feminist Issues in Anthropology: History & Current Debates

  • Perceiving Women. This course explores literature in feminist anthropology
    during the past twenty years. Major theoretical contributions and debates discussed include issues that dominated the field during the 1970's (women in the ethnographic literature; the public/private dichotomy; male dominance; impact of colonialism) as well as current concerns regarding feminist methodology, cultural constructions of gender and the female body, and women's resistance.

ANTH 5235 3.0 Anthropological Approaches to Nationalism and Ethnicity: the Politics of Identity

  • This course focuses on the critical analysis of nationalism and ethnicity - terms that have generated a great deal of discussion and debate both in academic circles and in everyday contexts.  How are forms of identification, belonging and/or exclusion manifested both within and beyond legal definitions of nationality and citizenship?  What are the impacts of the use of terms such as foreigner, citizen, refugee, im/migrant, diaspora on social and political subjectivities.

ANTH 5280 3.0 Bodies and Biotechnologies in Anthropology

  • The disciplinary focus of anthropology, and more specifically the anthropology of the body, offers students a critical theoretical perspective and point of departure for the study of the contingency of, and relationship between, bodies and biotechnologies.

ARTH 5170 3.0 Museum and Gallery

  • Seminar survey of the history of museums will precede the study of cataloguing methods (accession catalogue, exhibition catalogue, catalogue raisonné and of the basic procedures of art works preservation. The ethical and legal implications of the art trade will be discussed. A demonstration of mounting an exhibition will be performed. Scientific methods of research in dating and attribution of works of art will be studied.

ARTH 5175 3.0 Curatorial Practice

  • This course integrates both theoretical and practical aspects of curatorial practice.  Curatorial engagements from an array of theoretical perspectives and methodologies such as cultural analysis, collaboration, institutional critique, performative interventions and networked interactivity are investigated.  Current debates concerning how exhibitions function as forms of research and knowledge production, as well as their ideological and social conditions are also examined.

ARTM 6300 3.0 Cultural Policy

  • This course examines Canadian arts and cultural policy, its historical development, and the formulation and execution of municipal, provincial and federal policies, with a particular focus on current issues and strategies for the future in the arts and cultural industries.  The course has a research focus.  Where appropriate, comparative analysis will examine other policy models with reference to the UK, the United States, Europe, and Asia.

ARTM 6301 3.0 Issues in Arts and Cultural Management

  • This course will explore the dynamics of different perspectives on the human and economic resources involved in the production, distribution, and support of the arts and cultural products in Canada. The central question of this course concerns the management issues that arise from these dynamics. This is a prerequisite course for the MBA Program in Arts and Media Administration. It is intended to service those students who have a real interest in managing in the arts and cultural sector. However, for those students who wish to discover the sector and to test their interest, this is also a useful course.

ARTM 6340 3.0 Managing the Broadcast and Digital Worlds

  • This course identifies and examines central issues in the management of public and private television enterprises in Canada, and online programming undertakings.  Students will analyze the current environment and scenarios for the future of Canadian broadcasting; they will also investigate how broadcasters, programmers, and producers are managing content and revenue on both traditional and digital platforms and in new partnerships.  Note: This course requires an application and permission from the instructor.

ARTM 6350 3.0 The Business of Creativity in the Cultural Sector

  • Negotiation and management of creative rights processes and people are core to the strategic competence of arts and media organizations and their relationship with audiences. Technological developments are changing the way that these organizations approach their business. This course examines this complex evolving business through such topics as: perspectives on creativity; power, conflict and politics relating to managing unions, free-lance talent and celebrities; decision-making for market-risk; financing models, and the impact of the competitive and regulatory environment on management in the cultural sector. This course will be particularly valuable for those interested in the cultural industries including film, music, publishing, broadcasting and the performing arts. Recommended Pre-requisite: ARTM 6301

ARTM 6360 3.0 Business Solutions for Digital Media

  • The rapidly changing global digital media economy is creating new business models for the Arts, Media, and Entertainment sector.  This course examines how such models draw on management, creative, and policy resources in radically different ways.  Students will acquire knowledge and insights to manage digital media's needs for creativity, entrepreneurship, measurement, financial structures, and monetization, in large and small organizations.

DANC 5300 3.0 Methods and Materials for Movement Observation

  • Various frameworks for the study and description and documentation of human movement may be offered, e.g., Laban Movement Analysis or Motif Writing.  Lecture-discussion, movement work, readings, field study, and individualized projects are included.

DANC 6200 3.0 Advanced Dissertation Writing Seminar

  • This seminar provides a framework within which PhD candidates meet together to explore the methodologies and approaches to scholarly writing that are relevant to their research areas.

DANC 6300 3.0 Topics in Dance History & Histography

  • This course surveys the wide range of theories, methods, and issues that have animated historical research on dance and movement practices.

DANC 6400 3.0 Issues in Dance Ethnography and Cultural Studies

  • This course surveys a wide range of theoretical approaches to the study of dance from ethnographic and cultural studies perspectives.  Included are the study of dance as a system of communication, dance as part of social structure, dance as ethnicity and dance as sacred art.

EN 6215 3.0 Shakespeare: The Histories

  • This course studies one of the most popular dramatic genres of the English Renaissance: the history play.  It explores Shakespeare's two English tetralogies and the Roman plays, and investigates the meaning of history and its uses in early modern England. This course is held on Glendon Campus.

EN 6562 3.0 PLAY

  • In his Critique of Judgment, Kant asserts that "play" is "purposiveness without purpose."  In this course we consider this and other apparent paradoxes of "play" as we examine the concept in modern and contemporary performance.

EN 6961 3.0 Demon Theory: Indigenous Critical Theory

  • This course introduces graduate students to scholarly conversations currently underway in Indigenous Critical Theory.  We seek to understand the major debates around tropes central to the scholarship on North American Literature and Film: Memory, Survivance, and Sovereignty, as well as the criticism of those tropes.

EN 6424 3.0 Victorian Sexualities

  • This course examines Victorian representations of sexual pleasure and anxiety in a range of theoretical, historical, scientific, and literary texts.

EN 6988 3.0 Girlhood

  • Many scholars contend that girlhood is a modern invention.  However, girls appear in many early modern texts.  This course examines early modern conceptions of girlhood, looking at literary as well as historical figures, and seeking to locate a space for girls within current feminist theory.

GFWS 6112 3.0 Queer Affect Theory: Public Feelings and Queer/Feminist Cultural Production

  • This course analyzes queer and feminist cultural production through the framework of affect theory and vice versa.  This course focuses on recent work in the visual and performing arts, women's studies, cultural studies, sexuality studies, critical disability studies and critical race theory in order to consider how scholars and artists take up affect, feeling and emotion through activist cultural production.

GFWS 6123 3.0 Critical Sexuality

  • This course is designed to introduce graduate students to the critical study of gender and sexuality.  This course is intended to enable students to identify conflicts and areas of contestation within the field of gender and sexuality studies by using a variety of feminist theoretical and methodological critiques.

HIST 6080 6.0 History of Social Sciences, Health, and Environments

  • The course explores several key areas, both thematically and historiographically, in the development of modern science and technology since the Renaissance, with a particular focus upon the nineteenth and twentieth centuries. The emphasis of the course will be upon social history of science and technology.

VISA 5610 3.0 Theoretical Issues in Contemporary Art

  • This course examines recent theoretical interventions in the formulation of critical practice in the field of the visual arts. Working from the premise that ‘art’ and theory are social constructions and therefore, are historically specific practices, this course addresses the intersection between theory and practice at particular moments in time, taking into consideration the implicit and explicit references of artists, critics, historians, and contemporary cultural theorists.

 

Photo above: The Pseudopark, a shoebox theatre installation by MA alumnus Tania Senewiratne (General Manager of Obsidian Theatre) responding to gentrification in Regent Park. Created as part of the 2016 Summer Institute on Imaging Urban Geographies. Photo by Tania Senewiratne