Wednesday, May 26, 2021

JAMB ENGLISH LANGUAGE

Hy dearie wanna know jamb English syllabus?
You are in the right place
Check this out......

Note: The JAMB English syllabus consists of three sections:

SECTION A: Comprehension/Summary

SECTION B: Lexis and Structure, and

SECTION C: Oral Forms

A. Comprehension/Summary

Topics/Contents/Notes:

(a) description
(b) narration
(c) exposition
(d) argumentation/persuasion

(i) Each of the two passages to be set (one will be a cloze test) should reflect various disciplines and be about 200 words long.

(ii) Questions on the passages will test the following:

(a) Comprehension of the whole or part of each passage.
(b) Comprehension of words, phrases, clauses, sentences, figures of speech and idioms as used in the passages.
(c) Coherence and logical reasoning (deductions, inferences, etc).
(d)  “Sweet Sixteen” by Bolaji Abdullahi
(e) Synthesis of ideas from the passages.

NOTE:
By synthesis of ideas is meant the art of combining distinct or separate pieces of information to form a complete whole.

ObjectHeistress



Candidates should be able to:
i. identify main points/topic sentences in passages;
ii. determine implied meaning;
iii. identify the grammatical functions of words, phrases, clauses and figurative/idiomatic expressions;
iv. deduce or infer the writer’s intentions including mood, attitude to the subject matter and opinion.

B. Lexis and Structure

Topics/Contents/Notes:


(a) synonyms
(b) antonyms
(c) homonyms
(d) clause and sentence patterns
(e) word classes and their functions
(f) mood, tense, aspect, number, agreement/concord, degree (positive, comparative and superlative) and question tags
(g) punctuation and spelling
(h) ordinary usage, figurative usage and idiomatic usage are to be tested.

NOTE:
Idioms to be tested shall be those that are formal and expressed in standard British English.

Objectives:

Candidates should be able to:
i. identify words and expressions in their ordinary, figurative and idiomatic contexts;
ii. determine similar and opposite meaning of words;
iii. differentiate between correct and incorrect punctuation and spelling;
iv. identify various grammatical patterns in use;
v. interpret information conveyed in sentences.

C. Oral Forms

Topics/Contents/Notes:

(a) Vowels (monothongs and diphthongs
(b) Consonants (including clusters)
(c) Rhymes (including homophones)
(d) Word stress (monosyllabic and polysyllabic)
(e) Intonation (words emphatic stress)

NOTE:
Emphatic stress involves the placement of normal stress on words in an utterance for the purpose of emphasis.

Objectives:

Candidates should be able to:
i. make distinctions between vowel types;
ii. differentiate between consonant types;
iii. identify correct accentuation in individual words and connected speech.

THE STRUCTURE OF THE EXAMINATION

SECTION A: Comprehension/Summary

Topics:
(a) 1 comprehension passage – 5 questions

(b) I cloze passage – 10 questions

(c) 1 reading text – 10 questions

SECTION B: Lexis Structure

Topics:


(a) Sentence interpretation – 5 questions

(b) Antonyms – 5 questions

(c) Synonyms – 5 questions

(d) Sentence completion – 10 questions

SECTION C: Oral Forms

Topics:

10 questions

Total: 60 questions

JAMB English Recommended Textbooks

Attah, M. O. (2013). Practice in Spoken English for Intermediate and Advanced Learners, Maiduguri: University of Maiduguri Press.

Bamgbose, A. (2002). English Lexis and Structure for Senior Secondary Schools and colleges (Revised Edition), Ibadan: Heinemann

Banjo, A. et al (2004). New Oxford Secondary English Course Book Six for Senior Secondary Schools, Ibadan: UP Plc.

Caesar, O. J. (2003). Essential Oral English for Schools and Colleges, Lagos: Tonad Publishers Limited

Daniel Jones (2011). Cambridge English Pronouncing Dictionary, Cambridge: Cambridge University Press

Egbe, D. I (1996). Mastering English Usage and Communication Skills, Lagos: Tisons

 Elugbe, B. (2000). Oral English for Schools and Colleges, Ibadan: Heinemann
I can show you right here more than enough of all the syllabus  need

From oral c
We have word stress

WORD STRESS
Word stress/Stress pattern is one of the important topics in the learning and teaching of English as a second language (henceforth ESL). However, most teachers of ESL skip or shy away from this topic because of their incompetence; thus, leaving their students helpless in an external exam. In Nigeria, with essay writing occupying the front seat as regards "the reasons why students fail English in WAEC, NECO or NABTEB", one can inarguably place word stress/stress pattern, which comes as paper 3 (Test of Oral) in WAEC examination, as the second reason why students fail English in WAEC, NECO or NABTEB. Students have no option(s) other than resorting to error and trial method when it comes to answering questions on word stress because they were neither taught nor properly taught. Therefore, this article is written to expose students and teachers of English to the rudiments of word stress in order to enable them easily identify the stressed syllable of a word.

WORD STRESS: 10 easy ways to identify the stressed syllable of a word
Stress is the degree of force applied when pronouncing the syllable(s) of a word. The stressed syllable is the syllable on which the speaker uses more muscular energy and breath effort when pronouncing a word. A syllable is a unit of pronunciation that has one vowel sound. A word might have one syllable (like “come or “go”), two syllables (like "doc-tor" or "pre-sent"), three syllables ("dis-a-gree" or "com-pa-ny") and more (like "pan-de-mo-nium" or "per-so-ni-fi-ca-tion"). A word with one syllable is called a monosyllable; a word with two syllables is called a bisyllable, and a word with more than two syllables is called a polysyllable. Whatever the word, pay attention to the vowels because one of them will be where you find the stress of a word.
It is also important to note that syllables are different from letters. For example, “come” has four letters but one syllable. On the other hand, "Sunday" has six letters but two syllables.

Stressed syllables possess similar feature which enables us to identify them. According to Roach (2004), "...all stressed syllables have one characteristic in common, and this is prominence." Four main factors make a stressed syllable prominent:

1. Loudness
Loudness is an important factor in determining the stressed syllable of a word. When pronouncing a word, the syllable that is louder than the others is heard as stressed. In other words, for hearers and listeners, stressed syllables are perceived as louder than unstressed syllables.

2. Length
A stressed syllable is usually longer than the other syllables in a word. Roach (2004) asserted that "If one of the syllables in a word is made longer than the others, there is quite a strong tendency for that syllable to be heard as stressed"(p. 94).

As regards this, Umera-Okeke (2015, p. 125) asserted that "Syllables containing long vowels are viewed as more prominent than those with short vowels."

3. Pitch
Pitch is the extent of vibration of the vocal cords when producing the syllables of a word. In a word, a syllable is heard as stressed if it is said with a high pitch unlike the other syllables. Umera-Okeke (2015) opined that "when there is a pitch change on a syllable, that syllable is seen as being more prominent" (pp. 125 - 126). For example, in the word "Pandemonium", the primary stress is on the third syllable, "mo", since there is a pitch change on that syllable.

4. Quality
The quality of a sound in a syllable determines whether or not that syllable is stressed. That is to say that "a syllable of a sound will tend to be prominent if it contains a vowel that is different in quality from the neighbouring vowels" (Roach, 2004, p. 94). Vowels are very important in determining the stressed syllable of a word. Therefore, one needs to pay attention to the type of vowel a syllable contains. Within vowels, open vowels are more prominent; thus, a syllable containing an open vowel is most likely to be stressed.

When next you pronounce a word, take note of these aforementioned features. It is also important to state that, of all these factors, loudness and length are more important in determining the stressed syllable of an English word.

RULES THAT WILL ENABLE YOU IDENTIFY THE STRESSED SYLLABLE OF A WORD

1. Monosyllabic words, such as come, go, sit etc., are usually stressed since they can't be divided into different syllables.

2. Numbers that end in "ty" are stressed on the first syllable while numbers that end in "teen" have their stress on the second syllable. For example, "sixty" has its stress on first syllable (SIXty) while "sixteen" has its stress on the second syllable (sixTEEN).

3. Most bisyllabic nouns and adjectives are usually stressed on the first syllable.
Examples: BAS-tard, PRE-tty, CLE-ver, DOC-tor, STU-dent etc.

However, there is an exception to this rule, and you have to learn these words by heart: ho-TEL,  ex-TREME, con-CISE etc.

4. Bisyllabic verbs and prepositions are usually stressed on the second syllable. Examples: be-LOW, a-BOUT, a-BOVE, be-TWEEN, a-SIDE, pre-SENT, re-PLY, ex-PORT etc.

5. Some words in English language function as both nouns and verbs. When such words function as noun, the stress is usually on the first syllable, and as verbs, the stress is usually on the second syllable.
Examples:
i. PRE-sent (a gift) vs. pre-SENT (to give something formally to someone).

ii. RE-fuse (garbage) vs. re-FUSE (to decline).

iii. SU-spect (someone who the police believe may have committed a crime) vs. su-SPECT (to believe that something is true, especially something bad).

However, this is not always the case. For example, the word "respect" has its primary stress on the second syllable both when it’s a verb and a noun.

6. Six syllable words ending in "tion" are usually stressed on their fifth syllable. Examples: per-so-ni-fi-CA-tion, ca-pi-ta-li-SA-tion, i-ni-tia-li-SA-tion etc.

7. Three syllable words ending in "ly" often have their stress on the first syllable. Examples: OR-der-ly, QUI-et-ly etc.

8. Words ending in "ic", "sion" and "tion" are usually stressed on the second-to-last syllable. In this case, you are to count the syllables backward in order to get the second-to-last syllable. Examples: cre-A-tion, com-MI-ssion, au-THEN-tic etc. However, there are times when you need to count the syllable forward in order to get the second-to-last syllable. Examples: pho-to-GRA-phic, a-ccom-mo-DA-tion, ex-CUR-sion etc.

9. Words ending in "cy", "phy", "al", "ty" and "gy" are usually on the third-to-last syllable. You should also the count the syllables backward to get the third syllable. Examples: de-MO-cra-cy, pho-TO-gra-phy, CLI-ni-cal, a-TRO-si-ty, psy-CHO-lo-gy etc.

10. Most compound nouns (a word made up of two or more nouns) have their stress on the first noun. Examples: PLAYground, BLACKboard, FOOTball, KEYboard etc.

BONUS
Compound verbs (a verb made up of two or more words) and compound adjectives (an adjective that is made up of two or more adjectives, which are linked together by a hyphen) usually have their stress on the second word or syllable.
Examples:
outRIDE (compound verb).
outSHINE (compound verb).
old-FA-shioned (compound adjective).

In sum, the identification of the stressed syllables of English words is not an easy task; it is a process that requires a lot of practice and repetition as there are many rules and exceptions. For native speakers, this wouldn't be a problem, but for non-native speakers of the language, the reverse is always the case.  Therefore, the latter should immerse themselves in the enlightening dew of word stress through constant practice in order to be fortified. Should there be any problem while going through this process,  and also you have to learn other idioms apart from these ones and if u find it a little difficult don't hesitate to make reference to this page.

SYNONYMS AND ANTONYMS
Synonyms are words that have different pronunciation but are similar in meaning.
While Antonyms are words that are opposite in meaning.

More Words Words And Synonyms in Jamb English

S/N    Words       Synonyms
1    Astute       Shrewd, Clever
2    Developed    Advanced
3.    Oblivious Unaware,Unmindful,Forgetful
4    Rampant    Common, Frequent, Widespread
5.    Entice.      Tempt, Persuade
6    Imperative    Very important or urgent
7    Despondent    Hopeless
8    Restrain        Prevent
9    Impeccable    Perfect
10    Honesty.    Hinder
11    Skeptica        Doubtful
12    Integrity        Honesty
13    Inimical        Harmful
14    Hamper.      Hinder
15    Impeccable     Faultless
16    Eradicate    Destroy, Remove, Eliminate
17    Loquacious    Talkative, garrulous
18    Trivial        Insignificant
19    Invaluable    Priceless, of high value
20    Eventually    Finally
 

More Words And Antonyms in Jamb English
S/N    Words        Antonyms
1    Kindle        Extinguish
2    Remorse    Unrepentant
3    Accidental    Deliberate
4    Passionate    Cruel
5    Innocuous    Harmful
6    Admiration    Disdain
7    Discrepancy    Similarity
8    Obsolete    Fashionable
9    Invaluable    Worthless
10    Extinction    Existence
11    Economical    Extravagance
12    Snowballed    Decreased
13    Incompetent    Efficient
14    Fragile        Durable
15    Seldom    .    Often
16    Despondent    Hopeful
17    Derogatory    Complementary
18    Repudiate    Accommodate
19    Anonymous    Known
20    Cocky    .    humble

IDIOMS

What’s an idiom? How is it different from a proverb?

An idiom is a phrase or expression that has a meaning that in most cases cannot be deduced directly from the individual words in that phrase or expression.

For example, the idiom ‘bite off more than you can chew’ doesn’t mean you bite more than a mouthful of a cake or something else and then struggle to chew. It means you try to do something that is too difficult for you.

How are they different from proverbs? Proverbs are well-known sayings, stating a general truth or advice. For example, the proverb ‘a picture is worth thousand words’ is a general truth. The idiom ‘bite off more than you can chew’, however, is neither a general truth nor an advice.

Before you get into the idioms, I would give you a tip if you want to use them (versus just know the meaning).

It’s relatively easier to remember words than to remember idioms (and proverbs), because idioms typically contain 3-4 or more words. Remembering a string of words in the correct sequence and recalling them in a flash while speaking isn’t easy.

One thing that has helped me remember and, more importantly, use them is to repeat the idiom few times loudly and then in 2-3 different sentences (like the examples in this post).


1. Stir up a hornets’ nest

Provoke trouble

Example: It’s not that the management is not aware of few false bills here and there, but they don’t call it because it would expose many and stir up a hornet’s nest.

2. Back against the wall

Be in a difficult situation from where escape is difficult

Example: With banks baying for his blood over default in payments, he has his back against the wall.

3. Bite off more than you can chew

To try to do something that is too difficult for you

Example: He has taken more responsibilities as he couldn’t say ‘no’ to his boss. I think he has bitten more than he can chew, and he’ll struggle to handle them all.

4. Head over heels

If you’re head over heels, you’re completely in love.

Example: Max fell head over heels in love with her colleague and wants to marry her.

5. Upset someone’s applecart

If you upset someone’s applecart, you do something that causes a plan to go wrong.

Example: The increase in customs duty by the government has upset the applecart of those car companies who were importing most of their car parts.

6. Spoil someone’s plans

To ruin someone’s plans

Example: The heavy overnight rain spoilt our plan to play cricket next morning.

7. Keep someone at arm’s length

If you keep someone at arm’s length, you avoid becoming friendly with them.

Example: I’ve more productive time in the day because I’ve developed this good habit of keeping video games at arm’s length.

8. Up in arms

Angry about something

Example: Media has traditionally been up in arms with the government of the day.

9. Drive a hard bargain

If you drive a hard bargain, you argue hard to get a favorable deal.

Example: The author tried to drive a hard bargain with the publisher on signing amount, but couldn’t because he didn’t have best sellers in his name.

10. Barking up the wrong tree

To ask the wrong person or follow the wrong course

Example: The sales team blamed the engineers for the organization’s failure to bag the mega deal, but they were barking up the wrong tree.

11. Scrape the barrel

When you’re scraping the barrel, you’re using something you do not want to but you’ve no option.

Example: I was scraping the barrel when I had to stay for six months with my parents after I lost my job.

12. Bend over backwards

To try please or accommodate someone to an unusual degree

Example: The hotel staff bent over backwards to make the visit of the dignitaries a memorable one.

13. A chip off the old block

If you’re a chip off the old block, you’re similar in some distinct way to your father or mother.

Example: He is as stingy as her mother – a real chip off the old block.

14. Blow your own trumpet

If you blow your own trumpet, you tell people how good or successful you are (used in negative way).

Example: That doctor can be so off-putting. He is always blowing his trumpet mentioning his awards and positions in various associations.

15. Once in a blue moon

If something happens once in a blue moon, it happens rarely.

Example: Many startups turn in a profit once in a blue moon.

16. Burn your boats/ bridges

If you burn your boats, you do something that makes it impossible to change your plans and go back to the earlier position or situation.

Example: I’ve burnt my boats with my previous supervisor by criticizing him publicly.

17. Make no bones about something

If you make no bones about something, you say clearly what you feel or think about it.

Example: Jack made no bones about getting a hike in his salary.

18. Break fresh/ new ground

If you break new ground, you do something that was not done before.

Example: Our scientists are breaking new ground in robotics and cancer research.

19. In the same breath

When you say two things in the same breath, you say two very different or contradictory things.

Example: How can the manager praise my colleague and talk of his average performance in the same breath?

20. Take away your breath

If someone or something takes your breath away, it astonishes you.

Example: His diving catch at the crunch moment in the match took my breath away.

21. Sell like hot cakes

If something sells like hot cakes, it sells very fast.

Example: More than five thousand cars sold so far. The new model is selling like hot cakes.

22. Burn the candle at both ends

If you burn the candle at both ends, you work excessively hard, say, by keeping two jobs or by leading a busy social life in the evening.

Example: Mitch is burning the candle at both ends. He is working two jobs, one in the evening.

23. Separate the wheat from the chaff

If you separate wheat from the chaff, you separate valuable from worthless.

Example: The new testing procedure to evaluate employees will separate the wheat from the chaff.

24. Change tune

If you change your tune, you change the way you behave with others from good to bad.

Example: After he came to know that I’m close to the power in the organization, he changed his tune.

25. Run around in circles

To be active without achieving any worthwhile result

Example: He ran around in circles trying to bring us on board for the new cause.

26. Turn the clock back

If you turn the clock back to an earlier period, you return to that time.

Example: Turning the clock back to our glory days is fruitless. We’ve to work harder and smarter in the present.

27. Against the clock

If you’re working against the clock, you’re working in great hurry.

Example: With only half the syllabus studied, I raced against the clock to be ready for the exam on Monday.

28. Close the door on someone

If you close the door on someone or something, you no longer deal with it.

Example: The country decided to close the door on talks till other outstanding issues are resolved.

29. Burn the midnight oil

To work late in the night

Example: I had to burn the midnight oil for nearly three months to write my first book.

30. Chicken and egg situation

If a situation is chicken and egg, it is impossible to decide which of the two came first and caused the other one.

Example: I need to have experience to get job, but without job, I can’t have experience. It’s a chicken and egg situation.

31. On cloud nine

If you’re on cloud nine, you’re very happy.

Example: I was on cloud nine after receiving the news of my promotion.

32. Under a cloud

If you’re under a cloud, you’re under suspicion or in trouble.

Example: The IP for our key technology has been leaked, and many in my team, including the manager, are under a cloud.

33. Head in the clouds

If your head is in the clouds, you’re not in touch with the ground realities.

Example: Many academics have their heads in the clouds.

34. Small cog in a large wheel

Someone or something that has a small role in a large setup or organization.

Example: I work as a sales representative in a Fortune 500 company – just a small cog in a large wheel.

35. The other side of the coin

The other point of view

Example: We only see the glamor and money in showbiz. But the other side of the coin is that only one in hundreds reach there.

36. Pay someone back in his /her own coin

If you pay someone back in his/ her own coin, you treat him/ her in the same way he/ she treated you.

Example: By refusing to help her colleague, she paid him back in the same coin.

37. Left out in the cold

If you’re left out in the cold, you’re ignored.

Example: I was left out in the cold in the annual promotions in the company.

38. Pour cold water on

If you pour cold water on an idea or plan, you criticize it to the extent that people lose enthusiasm to pursue it.

Example: The investors poured cold water on the plan to build another factory.

39. Blow hot and cold

If you blow hot and cold, you vacillate.

Example:  The editor blew hot and cold over the story for few days and then finally decided to publish it.

40. To come to a head

If something comes to a head, it reaches to the point of a crisis.

Example: The situation came to a head when he passed a derogatory comment purportedly toward me.

41. Cool your heels

Wait for something, especially when it’s annoying

Example: I spent two hours cooling my heels in the waiting room while the CFO was busy in a meeting.

42. Cut corners

If you cut corners, you save money or effort by finding cheaper or easier ways to do things.

Example: It you cut corners on this product, it’ll have a lesser lifespan.

43. Run its course

If something runs its course, it continues naturally until it finishes.

Example: There is no cure for this infection. You’ll have to let it run its course.

44. Stay the course

If you stay the course, you persevere till the completion of a task, especially a difficult one.

Example: Despite an injury, he stayed the course to save the match for his team.

45. Cut someone down to size

If you cut someone down to size, you show them they’re not as important or intelligent as they think.

Example: The boss cut that arrogant guy to size in no time.

46. Daylight robbery

Blatant overcharging

Example: $5 for a can of juice! This is daylight robbery.

47. Boil the ocean

If you try to boil the ocean, you try to accomplish something too ambitious.

Example: You expect our plant to manufacture 40,000 parts in a week. You’re trying to boil the ocean on this one.

48. Handle with kid gloves

If you handle someone with kid gloves, you treat them with extreme tact and care.

Example: The client is hyper sensitive. We need to handle him with kid gloves, or we risk losing the deal.

49. Clear the decks

If you clear the decks for something, you remove all hurdles to get started on that work.

Example: By sanctioning the budget and filling in the vacancies, the committee has cleared the decks for our new office.

50. Between the devil and the deep blue sea

If you’re caught between the devil and the deep blue sea, you’re caught between two undesirable alternatives.

Example: If you support your son, your business partner will be hurt, and vice versa. You’re caught between the devil and the deep blue sea.


 

CONCORD
There are five elements that make up a sentence. These elements are subject, verb, object, complement, and adverbial.That means that every sentence must have subject and verb. Not only that, the subject and the verb have to agree in order for the sentence to be correct. For instance, the sentence: The boys is here has a subject and a verb, yet the sentence is not correct because the subject and the verb do not agree. This agreement is what we call concord.
Concord is the agreement- especially in number- between the subject and verb of a sentence such that when the subject is singular, the verb will also be singular and when the subject is plural, the verb will also be plural.

TYPES OF CONCORD

1. Grammatical concord– the principle of grammatical concord holds with nouns that are grammatically marked for plural. It is the easiest type of concord. Simply put, the rule says, if the subject is singular, the verb will also be singular and if the subject is plural, the verb will also be plural.
E.g  The boy is here,   The boys are here,   The man likes food, The men like food.

2. Proximity concord-—- Proximity means “nearness”. The principle of proximity concord says that if two or more subjects are coordinated (joined) by the correlative coordinators “either……. or” or “neither…..nor”, the subject that is closest to the verb determines the concord- the rest (first one (s)) are ignored.
E.g  If Sandra fails her exams, either her parents, her friends or her sister is to blame.

3. Notional Concord. The principle of notional concord holds with collective nouns. Collective nouns are words like “committee”, “club”, “choir”, “audience”, “congregation” etc. These words mean a group of people, and they can take either singular or plural verbs depending on how they are used. The rule is that, if the collective noun performs an action, it takes a plural verb, but if no action is involved, it takes a singular verb.
E.g. The choir sing very well (not sings, since an action is involved, the verb will be plural), The Choir is very disciplined (not are), The audience is quite large (not are), The audience were clapping their hands (not is)

4. Categorization concord. There are adjectives that denote a group or category of people. Such words include The poor, the rich, the lame, the blind, the helpless, etc.When these words are used as the subject of a sentence, two things happen. The first is that these words are not pluralized, though they mean a group of people (the poor means everybody that is poor, so does the rich, the lame, the blind etc). So we do not have the forms *the poors, *the blinds etc Secondly, they take plural verbs.
E.g. The poor need our help (not needs), The rich also cry (not cries), The blind see with their inner eyes (not sees) etc.

5. Concord of indefinite pronouns. Indefinite pronouns are those pronouns that end in “body”, “thing” and “one”. They include the words somebody, everybody, nobody, anybody, something, everything, nothings, anything etc. They have a plural connotation, but they take singular verbs.
E.g  Everybody in this class is hungry (not are), Nobody likes to be disrespected (not like), Anything is better than nothing (not are).

6. Concord of quasi coordinated subjects. There are words we call quasi coordinators in English. They include words like “as well as”, “with”, “together with”, “in conjunction with”, “along with”. When these words are used to join two subjects, only the first subject controls the verb and determines the concord, the second subject is ignored.
E.g. The president together with his ministers has arrived (not have), The principal as well as all the teachers and students is (not are) in the hall right now, The man with his wife was killed in the earthquake. Etc

7. Concord of coordinated subjects. W hen two or more words referring to the same person or thing are joined by “and”, the verb will be plural.
E.g. Our English teacher and our head of department are absent today, The principal and the chairman of the occasion have arrived

8. Double title concord. When two or more words referring to the same person are joined by “and”, the verb will be singular.
E.g. Our English teacher and head of department is absent today, The principal and chairman of the occasion has arrived.

9. many- a concord. When “many-a” is used, it should be immediately followed by a singular noun and singular verb.
E.g. Many a girl likes him (not like), Many a man is not trustworthy (not are) etc.

10. More than concord– when “more than” is used to qualify the subject of a sentence, it can take either a singular or a plural verb depending on what come after it. If a singular noun comes after it, then it takes a singular verb, but if a plural noun comes after it, then it takes a plural verb.
E.g. More than one man lives here (not live), More than five boys attend this school.

11. Concord of money, measurement, distance and time– When a word that denotes money (e.g. five dollars, twenty naira, fifteen pounds etc), measurement (e.g three litres, five kilograms etc), distance (twenty kilometers, five miles etc) and time (e.g four hours, eleven minutes etc) is used as the subject of a sentence, the verb will be singular. E.g. Twenty thousand naira is too small for me to spend, Five hundred thousand dollars was spent on the project (not were), Five cups of water is all he needs (not are), Five days is not enough for the police to complete their investigation (not are)

12. Concord of Fraction and percentages. When a word that denotes fraction and percentage is used with the subject of a sentence, it can take either singular or plural verbs depending on what comes after it. If a singular noun comes after it, it takes a singular verb and if a plural noun comes after it, it takes a plural verb.
E.g. Three-quarters of the hostel has been painted and three quarters of the students have moved in. Fifty percent of the boys have arrived and fifty percent of the food has been eaten. Ninety percent of dogs like bones etc.
30 Examples To Help You Master Concord

What is concord in writing? We have put together this list of 30 examples to help you master concord.

[Top Tip: If you need help with your grammar, buy The Complete Grammar Workbook.]

What Is Concord?

When we use the word ‘concord’ in everyday speech, it means ‘agreement or harmony between people or groups’ (Oxford Dictionary).

When we use the word in the context of grammar, it has a similar meaning: grammatical agreement between two parts of a sentence.

An important language skill to master is subject-verb concord.

The Basics Of Concord

Subject-verb concord is when the subject of a sentence and the verb of a sentence agree.

Simply, if the subject of the sentence is singular, the verb must be singular. If the subject of a sentence is plural, the verb must be plural.

Look at these examples.

30 Examples To Help You Master Concord

1. The pages (subject) is (verb) held together by a staple.
2. The pages (subject) are (verb) held together by a staple.

Number 2 is correct, because the subject, ‘pages’, and the verb, ‘are’, are both plural. They agree.

It’s easy, yes? Let’s gear up and try something more difficult.

A phrase in between the subject and the verb

Look at these examples:

3. The message between the lines is that we need to finish before Monday.
4. The message between the lines are that we need to finish before Monday.

The temptation here is to look at the word in front of the verb (the plural ‘lines’) and choose the verb that agrees with it (the plural ‘are’). This is wrong. The subject of the sentence is not ‘lines’. It’s ‘message’. So, because the subject, ‘message’, is singular, we use the singular verb ‘is’. The phrase ‘between the lines’ is a prepositional phrase (starting with a preposition), which is why it’s not the subject of the sentence.

Try your hand at these:

5. The case of champagne bottles are for the year-end party.
6. The case of champagne bottles is for the year-end party.

The correct answer is number 6. ‘Case’ is singular, so use the singular verb ‘is’.

7. The sentiment in our offices is that our bonuses were measly this year.
8. The sentiment in our offices are that our bonuses were measly this year.

The correct answer is number 7. ‘Sentiment’ is singular, and the singular verb ‘is’ agrees with it.

Two subjects connected by either/or, or neither/nor

If you have two singular subjects that are connected by either/or, or neither/nor, use the singular verb. Look at this:

9. Neither Sibongile nor Ted has the keys to the stationery cupboard.
10. Either Mary or Shandu is manning the info desk at the conference.

Even though you’re discussing two people, only one of them (singular) is taking action, so the verb is singular.

What do you do when one of the subjects is plural and the other isn’t? Look at these examples:

11. Neither Sibongile (singular) nor the personal assistants (plural) have the keys to the stationery cupboard.
12. Either the stewards (plural) or Mary (singular) is manning the info desk at the conference.

Do you see how the verb agrees with the subject closest to it? However, the second sentence sounds awkward, so rather write sentences like this with the second subject being plural, and then make the verb plural. Sentence number 12 should rather be rewritten as:

13. Either Mary or the stewards are manning the info desk at the conference.

Two subjects connected by ‘and’

When you have two subjects connected by ‘and’, use the plural form of the verb.

14. Tshepiso and Sbo are responsible for the exchange server.
15. Elize and Raveshan are our new project managers.

There are two exceptions to the rule. The first (see number 13) is when a compound subject connected with ‘and’ is seen as a singular subject due to popular use. The second is when the subjects connected by ‘and’ are the same person or entity (see number 14).

16. Pap and wors is my favourite meal.
17. The creator and distributor of the software is Energesix Ltd.

Plural subjects that call for singular verbs

Use a singular verb when you have a subject that conveys a single unit of distance, time, or money.

18. Ninety-five cents is a great bargain for a SIM card.
19. One hundred kilometres is a gruelling daily commute.
20. Twenty minutes is all I have to prepare for the meeting.

Other subjects that call for singular verbs

The following words need singular verbs: each, everyone, everybody, anyone, anybody, somebody, nobody, someone, none, and no-one. Look at these examples:

21. Each of our staff members has to fill in an evaluation form.
22. Anyone who wants a day off in lieu of overtime must still fill out a leave form.
23. Someone has left a coffee cup on the glass of the photocopy machine.
24. None of us wants to admit to being behind on filing.

Subjects that are collective nouns

Look at these examples:

25. The board wants to make the decision by next Thursday.
26. The staff is in a meeting.
27. The team is due to fly out today.

The board, staff, and team are made up of many individual members, but each forms a collective, singular subject. Thus, a singular verb is used. Be careful not to make this mistake, though:

28. The staff is in a meeting to discuss their appraisals.

Now, you have a singular subject (staff), a singular verb (is), and a plural pronoun (their) in the same sentence. To improve concord, rather rewrite the sentence in one of the following ways:

29. The staff is in a meeting to discuss appraisals.
30. The staff members are in a meeting to discuss their appraisals.

We hope these examples to help you master concord help you with your writing!


THEATRE ART

DESCRIPTIONS
THEA 1

INTRODUCTION TO THEATER

As a set of staged practices rich with social context, theater has sought to document, engage, and affect communities. This course introduces and explores theater from page to stage as a live performing art. Topics include the relationship between theater and society (historical and contemporary), dramatic structure, theatrical representation, and the crafts of theater artists such as directors, designers, playwrights, and actors. We will also engage with live performances and video archives of past performances.

 

THEA 7.01

THEATER FOR SOCIAL CHANGE

This course will trace particular developments in American and Western European Theater from the First World War through the present. Artists and theater groups under consideration will be those whose work has focused on contemporary social conditions and the potential of performance to effect social change. In addition, students will experiment with developing scripts and performances based on current evenTHEATER
dings will include selections from the writings of Erwin Piscator, Bertolt Brecht, The Federal Theatre Project, Harold Pinter, Augusto Boal, etc. as well as newspapers, news magazines, and other media sources. In addition to creative and critical writing, students will be assigned one major research project. Emphasis will be on class participation.

This is a first-year seminar class.

THEA 10.08

CREATIVITY AND COLLABORATION

Creativity and collaboration are concepts found in all disciplines and regularly requested, although rarely taught. In this course, students will have the opportunity to develop creative abilities through experiences in performance-based arts, and apply these in a collaborative project. Faculty artists active in movement and theater design will teach the course, which is open to students with no performance experience, as well as those looking for a new approach to existing skills.

Instructor permission is required; CLICK HERE for more information about receiving permission to enroll.

THEA 10.13

DRAMATIC STORYTELLING: PLAYS AND SCREENPLAYS

Why choose just one? In "Dramatic Storytelling," beginning and advanced students explore the two forms, discovering which form better suits a given story. Along the way, students study film adaptations of such playwrights as William Shakespeare, Marsha Norman, Arthur Miller and Edward Albee. In doing so, they develop an appreciation of the history and traditions of both forms, along with an understanding of the issues involved with adaptation. By the end of the term, students have developed the ability to access and adapt the vast reservoir of dramatic stories to the times, issues, and forms that lie ahead. The course ends with an evening of public readings, showcasing the work developed in the class. No experience necessary.

THEA 10.25

MUSIC, DESIGN, AND CREATIVITY

This introductory class breaks new ground by making music, rather than text, the driving force behind design for the performing arts. After being introduced to the principles of design, students will create visual artworks inspired by personal responses to specific pieces of music. Students will then create designs specific to dance, concert design, musical theatre, and opera. Various forms of idea-sharing will be taught, including collage, sketching, rough modeling, and painting. No previous experience required.

THEA 10.28

EMERGING MUSICAL THEATER

A musical tells a story with words and music. Beyond those basic parameters, any limitations around what a musical can and cannot be are up for debate. This multi-disciplinary class is open to composers, lyricists, songwriters, playwrights, directors, actors, singers, dancers, poets and musicians of any background. The objective is to investigate the form of the musical through the lens of sonic arts. In addition to looking at the past present and future of American musical theater we will engage a broad exploration musical storytelling, across many aesthetic sensibilities and time periods. The class requires weekly creative output in addition to reading and listening outside of class.  Students must be willing to work across the boundaries of their own disciplines to generate lyrics, melodies and scenes. The class will establish a generous inter-disciplinary working environment which values creative risks, collaboration and inventiveness.

THEA 10.29

TEXT ANALYSIS: TOOLS FOR INTERPRETATION

A dramatic text is like a musical score. In order to understand a play, a theater artist must first learn to "read music." This course will focus on the tools that allow an artist to understand the dramatic "score" and ultimately to translate the playwright's words into action on stage. The playwright's tools: Style, Setting, Mood, Theme, Environment, Character, Language, Action, Objective, Obstacles, will be defined and discussed.  The reading list will include plays by Henrik Ibsen, August Strindberg, Katori Hall, William Shakespeare, Lynn Nottage, Caryl Churchill, and others. This course is relevant for all theater artists regardless of area of specialization.

Dist:ART

THEA 10.45/ARAB 81.04

ARAB THEATRE

This class is a survey of the main trends and themes in Arab theatre from the mid-19th century to contemporary times. Students will be introduced to some of the main playwrights, actors and directors who helped define the art in the Arab world over the last century and a half.

THEA 10.51

BLACK THEATRE & STORYTELLING WORKSHOP IN XR: REIMAGINING THE PURPLE FLOWER (1928)

Recognizing the intrinsic value of Black lives and Black storytelling across media platforms, this course will explore the staging of Black theatre texts in virtual reality (VR) and related XR technology.  Participants will explore VR technology at the intersection of Black cultural storytelling through the performance of monologues and scenes as well as design/tech, music and movement culminating into a pilot production of Marita Bonner's The Purple Flower (1928), a non-realistic, one-act play that pushes the boundaries of theatrical staging.  No prior experience or pre-requisites required.

THEA 10.71

PLAYS ONSTAGE: ACTING COMEDY

An advanced acting class in the art of performing comedy. Building on the basics of Acting I, this course will examine how the fundamentals of acting are adapted to playing a heightened comedic text.  Students will be introduced to a broad range of comedic performance, past and present, from sketch comedy to standup to films and television, developing a vocabulary of reference points, styles, and approaches to be applied in their rehearsals of the text.  The course will culminate in a public presentation of the play. Roles may be shared.

THEA 30: Acting I. Equivalent performance courses or experience will be considered on an individual basis.

THEA 12/CLST 2

THE TRAGEDY AND COMEDY OF GREECE AND ROME

The course studies in translation selected works of Aeschylus, Sophocles, Euripides, Seneca (tragedy), Aristophanes and Plautus (comedy), and some of their central themes and questions: law, community, revenge, passion, and justice. We will approach them both as texts and as scripts/librettos, considering their relationship to other types of performance (ritual, rhetoric, music, dance) and genres (history, philosophy) as well as to theatrical space. There will be practical workshop opportunities for those interested.

THEA 15

THEATER AND SOCIETY I: CLASSICAL AND MEDIEVAL PERFORMANCE

This course explores selected examples of world performance during the classical and medieval periods in Western Europe and eastern Asia.  Plays to be discussed might include those by Aeschylus, Sophocles, Euripides, Aristophanes, Seneca, Plautus, Terence, and Zeami. Through the reading and discussion of primary and secondary texts, we seek to situate selected performance texts within their sociopolitical and artistic contexts.

THEA 16

THEATER AND SOCIETY II: EARLY MODERN PERFORMANCE

This course explores selected examples of world performance during the early modern period (fourteenth through the eighteenth centuries). Plays to be discussed might include those by Shakespeare, Calderón, Sor Juana de la Cruz, Molière, Racine, Marivaux, and Carlo Gozzi. Through the reading and discussion of primary and secondary texts, we seek to situate selected performance texts within their sociopolitical and artistic contexts.

THEA 17

THEATER AND SOCIETY III: 19TH AND 20TH CENTURY PERFORMANCE

This course explores selected examples of world performance in the 19th and 20th century. Plays to be discussed might include those by Ibsen, Strindberg, Chekhov, Lorca, Ionesco, Beckett, Williams, Miller, and Brecht, as well as contemporary U.S. playwrights such as Suzan-Lori Parks and Charles Mee. Through the reading and discussion of primary and secondary texts, we seek to situate selected performance texts within their sociopolitical and artistic contexts.

THEA 18/RUSS 18

RUSSIAN THEATER

This course is devoted to Russian drama and theater from the 19th through the 21st century. We will read eight plays that are central to Russian literary and theatrical tradition and then discuss their most significant interpretations on both the Russian and the world stage. The meetings will be conducted in a non-traditional format. In our examination of the plays, we will attempt to model the process of stage production in accordance with the principles developed by Konstantin Stanislavsky, a celebrated Russian director whose approach to theater transformed acting in Russia and beyond. The course will culminate in the production of a play by a Russian playwright which students themselves will cast, direct, and design. All readings are in English.

THEA 19/COLT 34.02

HUMAN RIGHTS AND PERFORMANCE

What can theatre do for human rights, and human rights for theatre? How do playwrights translate violations of human rights to the stage? Through class discussion and creative exercises, we will explore selected plays from around the world that address human rights through various genres and dramatic forms, including theatre of testimony, documentary theatre, realism, allegory, and surrealism.

This course will not be offered in the 2018-19 academic year.

THEA 21 / WGSS 59.04

RACE, GENDER AND PERFORMANCE

Students will explore the cultural, critical, and artistic works of contemporary Arab American, Asian American, Black, Latinx, and indigenous theater artists/performers. Our examination will consider the socio-historical and political contexts engaged through these artists' works. We will also consider the relationship between the construction of identity and strategies of performance used by playwrights/performers to describe race, gender, sexuality, class, subjectivity, and ideas of belonging. Texts examined will include works by Jacobs-Jenkins, Parks, Moraga, Yee, McCraney, Pamatmat, Hudes, and El Guindi.

THEA 22/AAAS 31

BLACK THEATER, U.S.A.

This course will examine African American playwrights, drama, and theater from 1959 to the present. Further exploration will focus on the impact of civil rights, the Black Arts movement, and cultural aesthetics on the form, style, and content of African American plays. Readings will include plays of Hansberry, Baldwin, Baraka, Kennedy, Childress, Shange, Wolfe, Wilson, Parks and others.

 

THEA 23/AAAS 54

POSTCOLONIAL AFRICAN DRAMA

This course explores selected theatre and performance traditions of sub-Saharan Africa. How do African playwrights negotiate and transform the colonial legacy of Western drama, and how do they use theater to challenge neocolonial regimes and to advance ideas of democracy, human rights, and gender equality? Plays from Nigeria, South Africa, Kenya, and Uganda receive special emphasis. No prior knowledge of African studies or theater is necessary, just a willingness to expand critical and creative horizons.

This course will not be offered in the 2018-19 academic year.

THEA 24/AMES 24

ASIAN PERFORMANCE TRADITIONS

This course studies the performance traditions of Asia, focusing on China, Japan, Indonesia and India. Classical forms studied include Noh, Bunraku, Beijing opera, Sanskrit drama, Balinese dance and Japanese puppet theater. Attention is paid to social, religious and aesthetic influences on these traditions, theories on which they are based, the history behind the theatrical practices, and training and dramatic techniques. Students gain an appreciation of the rich variety and scope of theatrical conventions of Asia.

THEA 25 / LACS 24.70

SOLO PERFORMANCE

This course will introduce and engage the history, texts, topics, theoretical guideposts, and landmark figures/performances central to the genre of solo performance. Working between critical examination and practice, participants will analyze the form and content of leading solo performers while also composing a series of short exercises that activate solo performance strategies and methods. The course will culminate in the creation of a participant's self-authored, short solo performance piece.

 

THEA 26

MOVEMENT FUNDAMENTALS I

An introduction to movement for the stage, this course will animate the interplay between anatomy, movement theories and performance. Through exploration of physical techniques, improvisation and movement composition, students will experience a fundamental approach to using the body as a responsive and expressive instrument. Assignments will include readings, written work, class presentations, mid-term exam and final paper.

THEA 27

MOVEMENT FUNDAMENTALS II

A continuation of THEA 26, this class will explore further the relationship between efficient and expressive movement and body connectivity. Contact improvisation, conditioning, kinesiology and movement repertoire form the foundation from which the class will explore individual performance. Assignments include readings, written work, class presentations and a final paper.

Prerequisite: THEA 26 or equivalent experience. Instructor permission is required; CLICK HERE for more information about receiving permission to enroll in this class.

THEA 28

DANCE COMPOSITION

An in-depth study of the principles of dance composition leading to choreographic projects. Students will receive training in both dance composition and criticism, developing the requisite tools for choreography while acquiring the vocabulary for sophisticated choreographic analysis. Reading and writing assignments on contemporary issues in dance will be the departure for students' theoretical and creative exploration. To this end the class will concentrate on individual student choreography. Students' class work will be performed in an informal showing at the conclusion of the term. Open to all classes.

THEA 29

DANCE THEATER PERFORMANCE

Students will examine movement theories and techniques, utilizing these elements to create physical language while developing enhanced ensemble skills. Emphasis will be placed on the creation of a dance theater ensemble piece, which culminates the term in a final performance. The creative process, collaboration, and individual performance are key components of the experience. Readings in Dance Studies and critical reviews of performances are included to contextualize the course's creative work. Open to all classes.

THEA 30

ACTING I

To achieve success as a performing artist, an actor must commit to building an ensemble based on respect and mutual understanding and to embracing the notion that empathy is at the heart of the actor's art. Students will be encouraged to explore their creative abilities on a journey of self-discovery in order to build this sense of ensemble. Through individual and group exercises, students will be introduced to the techniques necessary to play a character believably and honestly. The class will culminate with scene presentations from realistic American plays by authors of diverse cultural backgrounds.

This course is open to all students. No theater experience is necessary.

THEA 31

ACTING II

Acting II is an advanced scene study class that focuses on developing a process for performing non-realistic, "heightened" acting texts.  Students will encounter plays that present unique challenges for actors in terms of language, physicality, characterization, style, content and text analysis.  The class will structurally fuse the traditionally separate disciplines of acting, voice, and movement into a comprehensive unit by approaching the text simultaneously from these three perspectives. The work will proceed from the assumption that the actor's performance must emerge from an expressively free and integrated instrument.

Prerequisite: THEA 30.
 

THEA 10.33

CONTEMPORARY PERFORMANCE

This course introduces and examines trends in international performance practices since 2000, with an emphasis on the past decade. All of this work is theatrical, but none of it is traditional theater. Topics include virtual performance, theater as activism and social practice, documentary performance, eco-performance, visual "live art," movement performance, and interactive work that centers the spectator's experience. The course will feature multiple visits with artists who are in residence, performing, or developing interdisciplinary work at the Hopkins Center. We will experience works live when possible and view video documentation of many others. Artists' writings and articles from performing arts journals will offer theory and context.

 As a discussion-based seminar, active participation during class is essential as we seek to situate performances within their sociopolitical and artistic contexts and conceptualize the role and possibilities of performance in our rapidly changing world, including its potential to reflect and reshape its cultures and societies. In addition to gaining critical perspective and honing analytical skills, students in this course will join with those in THEA 90 for an intensive hands-on workshop in physical theater technique led by Quinn Bauriedel of the Pig Iron School for Advanced Performance Training. The course will culminate in a final project in which students create their own work of contemporary performance, paired with a theoretical paper describing and contextualizing the choices and goals of their piece.

Dist:ART

THEA 10.30 / COLT 34.01

THEATER OF IDEAS: BRITAIN AND FRANCE

An exploration of the main intellectual movements, dramatic forms, and playwrights that shaped the evolution of British and French theatre in the post-war period. Particular attention is given to modern drama history, theory, and performance and how they relate to the wider social and political context. Writers drawn from some of the following: Osborne, Pinter, Stoppard, Churchill, Hare, Bennett, Ravenhill, Sartre, Beckett, Genet, Cixous, and Mnouchkine, Koltes, Reza, and Ndiaye.

Dist:LIT; WCult:W

THEA 10.55/AAAS 32.15

THE MAKING OF 21ST CENTURY EXHIBITS: CURATING A NATIONAL BLACK THEATER MUSEUM/INSTITUTION

This course is designed for those interested in theatre and performance, African American studies, history, and culture. Students will study influences on the development of black theater and performance in the USA as well as processes for preserving, curating, and exhibiting culture in institutions, examining how museum concepts intersect and/or collide with representations of black history and culture. In collaboration with the Hattiloo Theatre in Memphis and the DeVos Institute of Arts Management, who are drafting plans for an institution devoted to black theatre practitioners, students will determine and develop content for an interactive venue. They will consider strategies for the use of technology and live exhibits, involving black communities in exhibits and curation, and providing access to diverse communities. Projects and findings will be shared with the institution’s developers and will beconsidered in their ongoing plans. The course will include a visit to the National Museum of African American History and Culture in Washington.

THEA 10.56/ AAAS 31.50

BLACK THEATRE WORKSHOP: THE AUGUST WILSON EXPERIENCE

Using legendary playwright, August Wilson's ten-play cycle of African Americans' experiences throughout American history as our inspiration, this course provides hands-on, experiential learning of acting, script analysis, and theatrical production. With no previous performance, design, or production experience required, students will read Wilson's plays and related commentary with opportunities to perform selected scenes from the Wilson cycle while exploring possibilities for design and technical elements. In this process-oriented course, students also learn basic acting techniques by strengthening observation and listening skills, risktaking, imagination, improvisation, concentration, exploration of self, voice, and body. Activities include textual analysis of Wilson's plays and related works as well as documenting and revising performance philosophy and process. While providing a safe space for exploring the roles we play in our daily lives and taking on the roles of others in given or imagined circumstances, students will learn widely accepted theories, practices, and terminology of the actor's craft in order to facilitate the practice, writing, and discussion of acting and producing Wilson's plays and others.

THEA 10.57 / AAAS 31.10

DANCE THEATRE OF HARLEM WORKSHOP: COLLABORATIVE STORYTELLING THROUGH MOVEMENT

Synthesizing aspects of cultural storytelling, theater, movement, activism and biography, this course is focused on the creation of new performance work. Students will have a rare opportunity to engage with the singular Dance Theatre of Harlem (DTH) during their summer residency at Dartmouth College. This course explores the company's relationship and history with ballets that tell a story and the potential for collaborative storytelling across platforms. During THEA 10.57, students will also create, collaborate,  and organize performances of their own movement-based works.

Dist:ART; WCult:CI

THEA 35

ACTING FOR MUSICAL THEATER

This course will introduce students to the techniques used by actors/singers to play musical theater scenes believably, honestly and dynamically. Basic acting techniques will be taught as well as work in singing, text analysis, movement and speech. Students will begin with individual songs, then prepare, rehearse and present two-person musical scenes from Company, The Color Purple, West Side Story, Side Show, Into the Woods, Hamilton, Passion, In the Heights, She Loves Me, Follies, and others.

Instructor permission is required; CLICK HERE for more information about receiving permission to enroll.

THEA 10.32

ACTING FOR MUSICAL THEATER II

This course is a continuation of the study of Musical Theater, building on the curriculum of Acting for Musical Theater I. The class will further the student’s technique in building character for this genre from various periods and styles. Acting techniques using American Musical Theater of the 1930s through the 1950s will be studied, as well as voice and speech techniques for Shakespearean texts. The course will culminate in a staged reading of scenes from a contemporary musical(s), performed before an invited audience.  

Prerequisite: THEA 35 or equivalent experience. Instructor permission is required; CLICK HERE for more information about receiving permission to enroll.

THEA 36

THE SPEAKING VOICE FOR THE STAGE

This course is an examination of the principles and practice of freeing the natural voice. It proceeds from the notion that "voice" and "acting" are inseparable. Although it is an introduction to the use of voice in the theater, it is in no way limited to the actor. A specific progression of exercises will be presented to facilitate freeing the body of tensions, discovering the natural breath, releasing vibrations of sound from the body, and opening the channel for sound (throat, jaw, tongue). Resonance, vocal freedom, and articulation will also be explored. Techniques for accessing emotional and psychological truth will be practiced as fundamental to the actor's creative process. A groundwork will be laid for physical and vocal presence. Each student will be responsible for the development and practice of a vocal warm-up. A variety of speaking assignments will be made to develop confidence, presence, and emotional expressivity. Text materials utilized will emerge from self-scripted autobiographical storytelling. A strong commitment to the work is necessary to explore what it means to find one's voice. Open to all classes.

THEA 40

TECHNICAL PRODUCTION

An introduction to the technical aspects of live theater, exploring both traditional and modern approaches. Topics include the stage and its equipment, materials and construction of scenic and property items, lighting, sound, rigging, design, stage management, and more. This course includes both lectures and hands-on learning.

 

THEA 41

STAGE MANAGEMENT

An introductory course in the theories, techniques, and practices of stage managing a production from its initial stages to the conclusion of the run. Plays, musicals, opera, dance, and touring productions will be examined from the perspective of the stage manager. Working with directors, choreographers, and other members of the production team will be discussed as well as calling shows. Students will acquire practical experience through assignments on Department of Theater productions. Open to all classes.

Instructor permission is required; CLICK HERE for more information about receiving permission to enroll.

THEA 42

SCENIC DESIGN

An introduction to the basics of scenic design through weekly projects in scale models, drawings, research, lighting and storyboards. Students will also study the collaborative process among scene designers, directors, costume and lighting designers. Suitable for students interested in theater, visual and video art, installation, film, architecture, and sculpture. Students will have the opportunity to assist student and faculty scene designers on Department of Theater productions. Open to all classes.

THEA 44

LIGHTING DESIGN

An introduction to the practical and artistic elements of theatrical lighting design. The course will include topics in color theory, form, movement, composition, and the creative process. Through analyzing the script and studying light in nature, film, and art, students will prepare projects that explore the possibilities of light in the theater. Students will have the opportunity to work on Department of Theater productions with faculty and student lighting designers. Lectures, discussions, design projects, and critiques.

THEA 48

COSTUME DESIGN

An introductory course in the appreciation of the costume design process as part of the dramatic production. Through weekly projects, students will study the principles of line, texture, and color as well as the history of costume from the Renaissance through the eighteenth century. Lectures, design projects, and critiques. Open to all classes.

THEA 50

PLAYWRITING I

The aim of this course is for each student to write the best one-act play he or she is capable of writing. It is open to students both with a theater background and those without. This course will involve a number of preliminary exercises, the preparation of a scenario, the development of the material through individual conferences, and finally the reading and discussion of the student's work in seminar sessions.

THEA 51

PLAYWRITING II

A continuation of THEA 50: Playwriting I.

Instructor permission is required; CLICK HERE for more information about receiving permission to enroll.

THEA 54

DIRECTING

An introductory course in directing for the stage.  This class will focus primarily on text analysis and basic actor coaching techniques, culminating in staging scenes by authors from diverse cultural backgrounds. Particular attention will be paid to methods for building a creative ensemble based on respect and mutual understanding. Open to all classes.  

Prerequisite: THEA 30 or equivalent experience.

THEA 60

CLASSICAL PERFORMANCE I

This course is taught by the LAMDA faculty. THEA 60 is an intensive course in classical theater training focused on acting (including improvisation), movement (including movement theater, clown and historic dance), and voice (including singing). Texts include Shakespeare and either Jacobean or Restoration plays. This typical British conservatoire experience is designed for students interested in acting, directing, playwriting, design, stage management, dramaturgy or criticism.

Offered only as a part of the Theater Foreign Study Program in London. This program requires submission of an application and acceptance as a participant. This course is graded as credit/no credit.

THEA 61

CLASSICAL PERFORMANCE II

A continuation of THEA 60: Classical Performance I.

Offered only as a part of the Theater Foreign Study Program in London. This program requires submission of an application and acceptance as a participant. This course is graded as credit/no credit.

THEA 62

PLAYS IN PERFORMANCE: PERCEPTION AND ANALYSIS

Offered only as a part of the Theater Foreign Study Program in London, this seminar integrates the study of theater with the experience of plays in performance. By providing intense, comparative experience of playgoing, the course intends to broaden students' knowledge of the dramatic repertoire, to heighten their awareness of production approaches and values, and to encourage them to develop considered critical response to theater. Students attend a number of required performances and in addition attend performances of their own choosing - normally a total of three plays per week. Productions will represent a variety of periods and styles of playwriting, and a similarly diverse range of production companies and approaches to performance.

Offered only as a part of the Theater Foreign Study Program in London. This program requires submission of an application and acceptance as a participant. This course is graded as credit/no credit.

THEA 65

SUMMER THEATER LAB

This experiential class is designed to explore the development of new work for the theater. Students will participate actively in three exciting aspects of our summer production season: 1) VoxLab, a one-week festival of new projects initiated by Dartmouth alumni, 2) the Frost and Dodd Student Play Festival, and 3) the New York Theatre Workshop's annual summer residency.

This course is designed for students with some level of familiarity and experience with theater; please contact instructor for details.

CLICK HERE for more details about the Summer Theater Lab.

THEA 80

INDEPENDENT STUDY

This course is designed to enable qualified upperclass students, who have completed the appropriate supporting coursework, to engage in independent study in theater under the direction of a member of the department. A student should consult with the faculty member with whom he or she wishes to work as far in advance as possible, and not later than the term immediately preceding the term in which the independent study is to be pursued.

A written proposal and the approval of the faculty member and the Chair are required. CLICK HERE for more information about proposing an Independent Study in Theater.

THEA 90

CONTEMPORARY PRACTICES IN U.S. THEATER

This course draws upon faculty and guest artists of the Department of Theater to explore what it means to be a theatre artist of the new millennium. What are the plays, theatre artists, and practices that describe our era? What are the relationships among and between designer, actor, playwright, and scholar? What is the nature of interdisciplinary work? How do you see yourself participating? Course materials include contemporary plays, readings on current practices, and research about contemporary companies.

This course is mandatory for senior theater majors. Instructor permission is required.

THEA 91

THE HONORS THESIS

An Honors project, which normally extends through two terms and receives two major credits, must include a thesis or thesis project. This course must be elected by all honors candidates.

CLICK HERE for more information regarding the Honors Thesis in Theater.

COCO 32

THE ART OF ADAPTATION AND STORYTELLING

(Ndounou & Kwayana)

This theoretical and practice-based course is a study of the conversion of oral, historical and fictional narratives into stage drama, cinema and literary texts. Special attention will be given to the cultural and political implications of cross-generic transformation, formulaic conventions and concepts of “genre,” “crossover appeal” and “adaptation.” Throughout the term, the intersections of race, culture and economics will be regularly questioned. Black cultural storytelling in various mediums and genres will be examined to serve as a point of entry into discussion of cultural worldview and storytelling in order to aid and encourage students to explore the theories, concepts and practice of adaptation from multiple, diverse vantage points and areas of interest. Building upon the adaptations they created in the first half of the quarter, students begin translating their stories visually in the “production” phase of the course. They assess how emotional information is translated in the original form and invent new ways of translating this content in their new visual format. Final projects can be interactive stage pieces, video installations or films.

For Prospective Students
ORGANIZATION, REGULATIONS, AND COURSES FOR THEATER

LIFE IN THE SPIRIT

LIGHT TO SALVATION MINISTRY ADDRESS: ALIYU OBAJE ROAD, OPPOSITE MIAMI HOTEL, LOKOJA, KOGI STATE. PREACHER: PST. PROPHET MAYOWA AYANDOS...