David Geen
School o Drama
–
Series 119 Number 14 August 30, 2023
New Haven -
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David Geen School o Drama –
Series 119 Number 14 August 30, 2023 ( -)
is published seventeen times a year (once in May and October, twice in September, three
times in June, our times in July, six times in August) by Yale University, Whitney
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Editor: Steve Aitken
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Series Number August ,
David Geen
School o Drama
–
Contents
Calendar
The President and Fellows o Yale University
The Ocers o Yale University
Administration, Faculty, and Sta
A Message rom the Dean
Mission
History and Facilities
History o David Geen School o Drama
History o Yale Repertory Theatre
Facilities
Computing
Degrees
Nondegree Study
Acting (M.F.A. and Certificate)
Design (M.F.A. and Certificate)
Costume
Lighting
Projection
Set
Sound
Directing (M.F.A. and Certificate)
Dramaturgy and Dramatic Criticism (M.F.A. and D.F.A.)
Playwriting (M.F.A. and Certificate)
Stage Management (M.F.A. and Certificate)
Technical Design and Production (M.F.A. and Certificate)
Technical Internship Training Program
Theater Management (M.F.A.)
Training at David Geen School o Drama: A Policy Overview
The Classroom
Production Experience
Work Periods
Resolution o Scheduling Conflicts
Sel-Care and Wellness
Attendance
Recess Periods and Supplemental Recess Pay
Religious Observance
Program Assignments
Rehearsals
Assigned and Elective Work-Study
Participation in Yale Cabaret
Outside Employment
Registration
Theater History Requirement
David Gefen School o Drama –
Anti-Racist Theater Practice Requirement
Critical Response Process
Community Days
Course Standards and Requirements
Grading
Evaluation and Support
Leaves o Absence
Withdrawal
U.S. Military Leave Readmissions Policy
Commencement
Transcripts
Student Records
Freedom o Expression
Audio, Video, and Photographic Recording Policy
Respect in Our Workplace Protocol
Behavior Subject to Disciplinary Action
Emergency Suspension
Grievance Procedures
David Geen School o Drama Student Government
David Geen School o Drama Equity, Diversity, and Inclusion (EDI) Symposia
Series
David Geen School o Drama Anity Groups
Yale University Resources and Services
A Global University
Cultural Opportunities
Athletic Facilities
Identification Cards
Housing and Dining
Health Services
Student Accessibility Services
Resources to Address Discrimination and Harassment Concerns,
Including Sexual Misconduct
Religious Lie at Yale
Oce o International Students and Scholars
Tuition and Living Expenses
Financial Aid Policy
Fellowships and Scholarships
Prizes
Enrollment, –
The Work o Yale University
Maps
Calendar
The ollowing dates are subject to change as the University makes decisions regarding
the – academic year. Changes will be posted on the David Geen School o
Drama website.
Aug. – – The Hansberry Welcome or all playwriting students
Aug. Fall-term begins
Aug. –
–
Fall-term registration or all students
Required training and orientation sessions or all students
as scheduled
Aug. Fall-term classes begin, a.m.
Sept.
Labor Day. Classes suspended. David Geen School o
Drama (DGSD) and Yale Repertory Theatre (YRT)
production work suspended
Sept.
Classes suspended. Community Day activities as scheduled
( a.m.–: p.m.). Production work proceeds as
scheduled
Sept.
Classes suspended. Community Day activities as scheduled
( a.m.–: p.m.). Production work proceeds as
scheduled
Oct. Indigenous People’s Day. Classes suspended. DGSD and
YRT production work suspended
Oct. –Nov.
–
Classes suspended. Community Day activities as scheduled
( a.m.–: p.m.). Production work proceeds as
scheduled
Nov. Work period begins. Classes suspended. Production work
proceeds as scheduled
Nov.
Work period ends, all recess begins, : p.m., or
students whose presence is not required or YRT
production
Nov. Fall recess ends. Classes resume, a.m.
Dec. Fall-term classes end
Dec.
Community Day activities as scheduled ( a.m.–: p.m.).
Production work proceeds as scheduled. Work period
begins, : p.m
Dec.
Work period ends. Winter recess begins, : p.m. or
students whose presence is not required or YRT
production
David Gefen School o Drama –
Jan.
Winter recess ends. Spring-term begins. Registration or
all students. Work period begins. Production work
proceeds as scheduled
Jan. Work period ends. Spring term classes begin, a.m.
Jan. Martin Luther King, Jr. Day observance. Classes suspended.
DGSD and YRT production work suspended
Jan. –
–
Classes suspended. Community Day activities as scheduled
( a.m.–: p.m.). Production work proceeds as
scheduled
Feb.
Classes suspended. Community Day activities as scheduled
( a.m.–: p.m.). Production work proceeds as
scheduled
Mar. Spring recess begins, : p.m., or students whose
presence is not required or YRT production
Mar. Spring recess ends. Classes resume, a.m.
Apr. Classes suspended. Community Day activities as scheduled.
Production work proceeds as scheduled
Apr. Spring term classes end
Apr.
Community Day activities as scheduled ( a.m.–: p.m.).
Production work proceeds as scheduled. Work period
begins, : p.m.
May
Work period ends. Summer recess begins, : p.m.,
or students whose presence is not required or YRT
production
May University Commencement
The President and Fellows o Yale University
President
Peter Salovey, A.B., A.M., Ph.D.
Fellows
Joshua Bekenstein, B.A., M.B.A., Wayland, Massachusetts ( June )
Gina Rosselli Boswell, B.S., M.B.A., Vero Beach, Florida ( June )
Michael James Cavanagh, B.A., J.D., Philadelphia, Pennsylvania ( June )
Catharine Bond Hill, B.A., B.A., M.A., Ph.D., Bronx, New York ( June )
Maryana Iskander, B.A., M.Sc., J.D., Round Rock, Texas (June )
William Earl Kennard, B.A., J.D., Charleston, South Carolina ( June )
Frederic David Krupp, B.S., J.D., Norwalk, Connecticut ( June )
Maurie Dee McInnis, B.A., M.A., Ph.D., Setauket, New York ( June )
Reiko Ann Miura-Ko, B.S., Ph.D., Menlo Park, Caliornia ( June )
Carlos Roberto Moreno, B.A., J.D., Los Angeles, Caliornia (June )
Joshua Linder Steiner, B.A., M.St., New York, New York ( June )
David Li Ming Sze, B.A., M.B.A., Hillsborough, Caliornia ( June )
Marta Lourdes Tellado, B.A., Ph.D., New York, New York ( June )
David Anthony Thomas, B.A., M.A., M.A., Ph.D., Atlanta, Georgia (June )
Michael James Warren, B.A., B.A., Washington, D.C. ( June )
Neal Steven Wolin, B.A., M.Sc., J.D., Washington, D.C. (June )
His Excellency the Governor o Connecticut, ex ocio
Her Honor the Lieutenant Governor o Connecticut, ex ocio
The Ocers o Yale University
President
Peter Salovey, A.B., A.M., Ph.D.
Provost
Scott Allan Strobel, B.A., Ph.D.
Secretary and Vice President for University Life
Kimberly Midori Go-Crews, B.A., J.D.
Senior Vice President for Operations
Jack Francis Callahan, Jr., B.A., M.B.A.
Senior Vice President for Institutional Aairs and General Counsel
Alexander Edward Dreier, A.B., M.A., J.D.
Vice President for Finance and Chief Financial Ocer
Stephen Charles Murphy, B.A.
Vice President for Alumni Aairs and Development
Joan Elizabeth O’Neill, B.A.
Vice President for Human Resources
John Whelan, B.A., J.D.
Vice President for Facilities, Campus Development, and Sustainability
Jack Michael Bellamy, B.S., M.S.
Vice President for Information Technology and Chief Information Ocer
John Barden, B.A., M.B.A.
Vice President for Communications
Renee Kopkowski, B.A.
David Geen School o Drama/Yale Repertory
Theatre Administration, Faculty, and Sta
Administration
Peter Salovey, Ph.D., President o the University
Scott Strobel, Ph.D., Provost o the University
James Bundy, M.F.A., Elizabeth Parker Ware Dean and Artistic Director
Florie Seery, B.A., Associate Dean and Managing Director
Chantal Rodriguez, Ph.D., Associate Dean and Associate Artistic Director
Carla L. Jackson, M.F.A., Assistant Dean and General Manager
Emeriti
David Budries, Proessor Emeritus o Design
Wesley Fata, Proessor Emeritus o Acting
Elinor Fuchs, Ph.D., Proessor Emerita o Dramaturgy and Dramatic Criticism
Jane Greenwood, Proessor Emerita o Design
Alan Hendrickson, M.F.A., Henry McCormick Proessor Emeritus o Technical Design
and Production
Edward A. Martenson, A.B., Proessor Emeritus o Theater Management
Tom McAlister, Proessor Emeritus o Technical Design and Production
Victoria Nolan, B.A., Proessor Emerita o Theater Management
Gordon Rogo, B.A., Proessor Emeritus o Dramaturgy and Dramatic Criticism
Bronislaw Joseph Sammler, M.F.A., Henry McCormick Proessor Emeritus o
Technical Design and Production
Jennier Tipton, B.A., Proessor Emerita o Design
Ron Van Lieu, B.S., Lloyd Richards Proessor Emeritus o Acting
Faculty
Narda E. Alcorn, M.F.A., Proessor in the Practice o Stage Management (on leave,
spring )
Glenn Seven Allen, M.F.A., Lecturer in Acting
Shaminda Amarakoon, M.F.A., Proessor in the Practice o Technical Design and
Production
Christina Anderson, M.F.A., Lecturer in Playwriting
Arin Arbus, B.A., Lecturer in Design
Jennier Archibald, Lecturer in Acting
Nissy Aya, B.A., Lecturer in Directing
Michael Backhaus, M.F.A., Lecturer in Design and Technical Design and Production
Manuel Barenboim, M.F.A., Lecturer in Design
Christopher Bayes, Proessor in the Practice o Acting
Joshua Benghiat, M.F.A., Lecturer in Design
Mikah Berky, B.A., Assistant Proessor Adjunct o Design
Deborah Berman, B.A., Lecturer in Theater Management
David Biedny, Lecturer in Design (on leave, –)
Lileana Blain-Cruz, M.F.A., Assistant Proessor Adjunct o Directing
David Gefen School o Drama –
Amy Boratko, M.F.A., Lecturer in Dramaturgy and Dramatic Criticism
Joshua Borenstein, M.F.A., Lecturer in Theater Management
Oana Botez, M.F.A., Associate Proessor Adjunct o Design
Shawn Boyle, M.F.A., Lecturer in Design
Nicole Monique Brewer, M.F.A., Lecturer in Acting
Laura Brown-MacKinnon, M.F.A., Lecturer in Stage Management
James Bundy, M.F.A., Proessor o Drama
Jon Cardone, M.F.A., Lecturer in Technical Design and Production
Gonzalo Casals, M.S., M.A., Lecturer in Theater Management
Joan Channick, M.F.A., J.D., Proessor in the Practice o Theater Management
Katie Christie, Lecturer in Playwriting
Emily Coates, M.A., Proessor in the Practice o Directing
Bill Connington, Lecturer in Acting
Karin Coonrod, M.F.A., Lecturer in Directing
Andrea Cuevas, M.B.A., Lecturer in Theater Management
Ron Daniels, Lecturer in Design
Cynthia Santos DeCure, M.F.A., Associate Proessor Adjunct o Acting
Sarah de Freitas, B.S., Lecturer in Theater Management
Liz Diamond, M.F.A., Proessor in the Practice o Directing
Kelvin Dinkins, Jr., M.F.A., Lecturer in Theater Management
Trinh DiNoto, B.S., Lecturer in Theater Management
Damian Doria, B.S., Lecturer in Technical Design and Production
Jill BC Du Bo, B.A., Lecturer in Design
Carmel Dundon, Lecturer in Technical Design and Production
Alan C. Edwards, M.F.A., Assistant Proessor Adjunct o Design
Justin Ellington, Lecturer in Design
Janna Ellis, M.A., Lecturer in Theater Management
Anya Epstein, B.A., Lecturer in Playwriting
Anne Erbe, M.F.A., Assistant Proessor Adjunct o Playwriting
Maruti Evans, B.F.A., Lecturer in Design
Erica Fae, B.F.A., Lecturer in Acting
Julie Foh, M.F.A., Assistant Proessor Adjunct o Acting
Marjorie Folkman, M.Phil., Lecturer in Design
Marcus Gardley, M.F.A., Assistant Proessor Adjunct o Playwriting
Susanna Gellert, M.F.A., Lecturer in Directing
Anna Glover, B.A. (Hons), Assistant Proessor Adjunct o Technical Design and
Production and Theater Management
Eric M. Glover, Ph.D., Assistant Proessor Adjunct o Dramaturgy and Dramatic
Criticism
Zachary Goldberg, B.A., Lecturer in Design
Latiana “LT” Gourzong, M.F.A., Assistant Proessor Adjunct o Technical Design and
Production
Naomi Grabel, M.F.A., Lecturer in Theater Management
Andrew Hamingson, M.A., Lecturer in Theater Management
Wendall K. Harrington, Proessor in the Practice o Design
Administration, Faculty, and Staf
Riccardo Hernández, M.F.A., Associate Proessor Adjunct o Design
Amy Herzog, M.F.A., Lecturer in Playwriting
Majkin Holmquist, M.F.A., Lecturer in Playwriting
Carla L. Jackson, M.F.A., Assistant Proessor Adjunct o Theater Management
Toni-Leslie James, B.F.A., Associate Proessor Adjunct o Design
Kimberly Jannarone, D.F.A., Proessor in the Practice o Dramaturgy and Dramatic
Criticism
David W. Johnson, Lecturer in Technical Design and Production
Kirk Keen, M.F.A., Lecturer in Technical Design and Production
Jennier Kiger, B.A., Lecturer in Playwriting
Yura Kordonsky, M.F.A., Proessor in the Practice o Directing
Michael Korie, Lecturer in Playwriting
Dmitry Krymov, B.F.A., Lecturer in Directing
Ben Krywosz, B.A., Lecturer in Acting
Nicole Kyrtsis, B.A., Lecturer in Design
Annelise Lawson, M.F.A., Lecturer in Acting
Eugene Leitermann, M.F.A., Lecturer in Technical Design and Production
Liz Lerman, M.A., Lecturer in Drama
Eric Lin, M.F.A., Associate Proessor Adjunct o Technical Design and Production
Mikiko Suzuki MacAdams, M.F.A., Lecturer in Design
Joan MacIntosh, B.A., Proessor in the Practice o Acting (on leave, spring )
Jennier McClure, B.F.A., Assistant Proessor Adjunct o Technical Design and
Production
Carly McCollow, L.M.S.W., Lecturer in Dramaturgy and Dramatic Criticism
Tarell Alvin McCraney, M.F.A., Eugene O’Neill Proessor in the Practice o Playwriting
Paloma McGregor, M.F.A., Lecturer in Drama
C. Nikki Mills, M.F.A., Lecturer in Technical Design and Production
Keegan Monti-Kewley, Lecturer in Acting
James Monaco, B.A., Lecturer in Design
Carmen Morgan, M.A., Lecturer in Drama
Joey Moro, M.F.A., Lecturer in Design
Jill Rachel Morris, M.F.A., Lecturer in Dramaturgy and Dramatic Criticism
Beth Morrison, M.F.A., Lecturer in Theater Management
James Mountcastle, M.F.A., Proessor in the Practice o Stage Management
Neil Mulligan, M.F.A., Proessor in the Practice o Technical Design and Production
Midori Nakamura, B.A., Lecturer in Acting
Marsha Norman, M.A.T., Lecturer in Playwriting
Ellen Novack, B.A., Lecturer in Acting
Grace O’Brien, M.F.A., Lecturer in Technical Design and Production
Jacob G. Padrón, M.F.A., Lecturer in Theater Management
Joey Parnes, B.A., Lecturer in Theater Management
Laura Penn, Lecturer in Theater Management
Roberta Pereira, M.F.A., Lecturer in Theater Management
Benjamin E.C. Pfister, M.F.A., Lecturer in Stage Management
Annie Piper, M.F.A., Lecturer in Acting
David Gefen School o Drama –
Anja Powell, M.F.A., Lecturer in Technical Design and Production
Sadah Espii Proctor, M.F.A., Lecturer in Design
Katherine Proeta, D.F.A., Proessor in the Practice o Dramaturgy and Dramatic
Criticism
Josh Quinn, M.F.A., Lecturer in Design
Diane Ragsdale, M.F.A., Lecturer in Theater Management
Kelsey Rainwater, M.F.A., Lecturer in Acting and in Stage Management
Jonathan Reed, M.F.A., Proessor in the Practice o Technical Design and Production
William J. Reynolds, M.F.A., Lecturer in Technical Design and Production
Tlaloc Rivas, M.F.A., Lecturer in Acting
David J. Roberts, M.F.A., Lecturer in Theater Management
Marc Robinson, D.F.A., Proessor in the Practice o Dramaturgy and Dramatic
Criticism
Chantal Rodriguez, Ph.D., Associate Proessor Adjunct o Dramaturgy and Dramatic
Criticism
Mary Lou Rosato, B.F.A., Lecturer in Acting
Garth Ross, B.A., Lecturer in Theater Management
Michael Rossmy, M.A., Lecturer in Acting and in Stage Management
Rebecca Rugg, D.F.A., Visiting Proessor in Dramaturgy and Dramatic Criticism
Sarah Ruhl, M.F.A., Proessor in the Practice o Playwriting (on leave, spring )
David P. Schrader, B.A., Lecturer in Technical Design and Production
Florie Seery, B.A., Assistant Proessor Adjunct o Theater Management
Thomas Sellar, D.F.A., Proessor in the Practice o Dramaturgy and Dramatic Criticism
Catherine Sheehy, D.F.A., Proessor in the Practice o Dramaturgy and Dramatic
Criticism
Sally Shen, M.F.A., M.B.A., Lecturer in Theater Management
Zahida Sherman, M.A., Lecturer in Design
Stephanie Smith, B.A., Lecturer in Design
Ilona Somogyi, M.F.A., Associate Proessor Adjunct o Design
Aleta Staton, M.A., Lecturer in Theater Management
Rosalie Stemer, M.S., Lecturer in Theater Management and Technical Design and
Production
Stephen Strawbridge, M.F.A., Proessor in the Practice o Design
Christine Szczepanski, M.F.A., Assistant Proessor Adjunct o Technical Design and
Production
Emily Tappan, M.F.A., Lecturer in Design
Fabio Tavares, Lecturer in Acting
John Douglas Thompson, Lecturer in Acting
Awoye Timpo, M.A., Lecturer in Directing
Eric Ting, M.F.A., Lecturer in Directing
Donald Titus, M.F.A., Lecturer in Technical Design and Production
Anne Toemire, B.A., Lecturer in Acting
Daniela Varon, B.A., Lecturer in Acting
Gregory Wallace, M.F.A., Lloyd Richards Proessor in the Practice o Acting
Paul Walsh, Ph.D., Proessor in the Practice o Dramaturgy and Dramatic Criticism
Administration, Faculty, and Staf
Ru-Jun Wang, M.F.A., Proessor in the Practice o Design (on leave, spring )
Matt Welander, M.F.A., Proessor in the Practice o Technical Design and Production
Justine Williams, M.A., Lecturer in Acting
Dustin Wills, M.F.A., Lecturer in Directing and in Playwriting
Walton Wilson, B.F.A., Proessor in the Practice o Acting
Jessica Wol, B.F.A., Proessor in the Practice o Acting (on leave, spring )
Harold Wolpert, B.A., Lecturer in Theater Management
Tamilla Woodard, M.F.A., Associate Proessor Adjunct o Acting
Johnny Wu, M.F.A., Lecturer in Acting
Lisa Yancey, J.D., Lecturer in Theater Management
Nancy Yao, M.B.A., Lecturer in Theater Management
Michael Yeargan, M.F.A., Donald M. Oenslager Proessor in the Practice o Design
Clarissa Youngberg, B.A., Lecturer in Design
Grace Zandarski, M.F.A., Associate Proessor Adjunct o Acting
Aliated Faculty
Konrad Kaczmarek, Ph.D., Assistant Proessor Adjunct o Music
Gundula Kreuzer, Ph.D., Proessor in the Department o Music
Elise Morrison, Ph.D., Assistant Proessor o Theater and Perormance Studies
Tavia Nyong’o, Ph.D., Proessor o Theater and Perormance Studies and American
Studies
Research Fellows
Erik Butler, Ph.D.
Anna O’Donoghue, B.F.A.
Production Sta
Lia Akkerhuis, Scenic Artist
Shaminda Amarakoon, Director o Production
Michael Backhaus, Sound Supervisor
Mikah Berky, Scenic Charge (spring )
Deborah Bloch, Senior First Hand
Elizabeth Bolster, Lead Wardrobe Supervisor
Shawn Boyle, Projection Design Advisor
Jennier Carlson, Senior House Electrician
Janet Cunningham, Stage Carpenter
Mark Dionne, Properties Warehouse Manager
Zach Faber, Properties Associate
Jamie Farkas, Costume Stock Manager
Matthew Ganey, Senior Lead Carpenter
Ryan Gardner, Lead Carpenter
Latiana “LT” Gourzong, Technical Director
Nate Jasunas, Scenic Artist
Abe Joyner-Meyers, Front o House Mix Engineer
Linda Kelley-Dodd, Costume Project Coordinator
Doug Kester, Lead Carpenter
Eric Lin, Electromechanical Lab Supervisor
David Gefen School o Drama –
Kat McCarthey, Lead Carpenter
Jennier McClure, Properties Supervisor
C. Nikki Mills, Production Manager or Studio Projects and Special Events and
Student Labor Supervisor
Neil Mulligan, Technical Director
William Ordynowicz, Lead Properties Runner
Anja Powell, Projections Supervisor
Jonathan Reed, Production Manager
Sharon Reinhart, Lead Carpenter
David P. Schrader, Properties Crasperson
Stephanie Smith, Lead Sound Engineer
Eric Sparks, Scene Shop Supervisor
Christine Szczepanski, Costume Shop Manager
Don Titus, Lighting Supervisor/Inventory Manager
Patricia Van Horn, Senior First Hand
Ru-Jun Wang, Scenic Charge (all )
Matt Welander, Technical Director
Linda-Cristal Young, Senior House Electrician
Clarissa Wylie Youngberg, Senior Draper
Mary Zihal, Senior Draper
Artistic and Administrative Sta
Rebecca Adelsheim, Associate Editor, Theater Magazine
Jennier Alzona, Senior Administrative Assistant or Development and Alumni Aairs
Kate Begley Baker, Senior Administrative Assistant or the Design Program
Nadir Balan, Director o Facility Operations
Tracy Baldini, Subscriptions Coordinator
Deborah Berman, Senior Director o Development and Alumni Aairs and Editor,
David Geen School o Drama Alumni Magazine
Ralph Black, Customer Service Saety Ocer
Nicola C.S. Blake, Director o Finance and Business Operations
Martha Boateng, Manager, Business Operations
Erich Bolton, Web Consultant
Amy Boratko, Senior Artistic Producer o Yale Repertory Theatre
Josephine Brown, Senior Administrative Assistant to the Dean/Artistic Director and
Associate Artistic Director
Erin Carney, Arts Librarian or Drama, Theater, and Perormance Studies
Susan Clark, Deputy Director o Operations or Development and Alumni Aairs
Moriah Clarke, Business Oce Specialist
Laurie Coppola, Senior Administrative Assistant or the Directing, Dramaturgy and
Dramatic Criticism, Playwriting, and Stage Management Programs, and Theater
Magazine
Daniel Cress, Director o Marketing
Kevin Delaney, Customer Service Saety Ocer
Administration, Faculty, and Staf
Krista DeVellis, Senior Administrative Assistant or the Acting Program
Robert DiGioia, Senior Writer and Development and Alumni Aairs Ocer
Trinh DiNoto, Director o Human Resources
Krista Dobson, Non-clinical Counselor
Bo Du, Access Database Development Consultant
Edison Dule, Digital Technology Associate
Maggie Elliott, Publications Manager
Janna J. Ellis, Director o Yale Tessitura Consortium and Director o Web Technology
Kelvin Essilfie, Operations Assistant
Brandon Fuller, Operations Associate
Anna Glover, Director o Theater Saety and Occupational Health
Casey Grambo, Senior Associate Director o Development
Caitlin Grin, Senior Associate Director o Marketing and Communications
Garry Heyward, Digital Technology Associate
Ed Jooss, Customer Service Saety Ocer
Delaney Kelly, Development Associate
Jisun Kim, Artistic Fellow
Laura Kirk, Director o Audience Services
Molly Leona, Audience Services Assistant
Andre Massiah, Director o Financial Aid
Kay Perdue Meadows, Associate Producer o Yale Repertory Theatre
James Mountcastle, Production Stage Manager
Grace O’Brien, Senior Administrative Assistant to the Production Department, Theater
Saety and Occupational Health, and Technical Design and Production Program
Kelly O’Loughlin, Assistant Director o Theatre Saety and Occupational Health
Karem Orellana-Flores, Business Oce Specialist
Steven Padla, Director o Communications
Madeline Pages, Artistic Fellow
Shane Quinn, Assistant Director o Audience Services
Mishelle Raza, Senior Administrative Assistant to the Associate Dean, and Marketing
and Communications (on leave, all )
Shainn Reaves, Business Oce Analyst
Chantal Rodriguez, Associate Artistic Director o Yale Repertory Theatre
Thomas Sellar, Editor, Theater Magazine
Catherine Sheehy, Senior Associate Editor, David Geen School o Drama Alumni
Magazine
Benjamin Silvert, Access Database Development Consultant
Asberry Thomas, Business Oce Assistant
George Tinari, Digital Communications Associate
Laura Torino, Senior Administrative Assistant to the Director o Financial Aid and
Registrar/Admissions Administrator
Ariel Yan, Registrar/Admissions Administrator
Rachel Zwick, Senior Administrative Assistant to the Associate Dean, and Marketing
and Communications (all )
David Gefen School o Drama –
Facilities and Custodial Sta*
Ronald Douglas, Facilities Steward
Jennier Draughn, Facilities Superintendent
Tylon Frost, Custodian, Crown
Willia Grant, Custodian, Chapel
Cassandra Hobby, Custodian, York
Melloney Lucas, Custodian, York
Andrew Mastriano, Custodial Team Leader
Francisco Eduardo Pimentel, Facilities Superintendent
Shanna Ramos, Custodian, Park
Marcia Riley, General Building Maintenance
Jerome Sonia, Custodian, Park and York
Sherry Stanley, Custodial Team Leader
*Subject to change
A Message rom the Dean
Since , our diverse community has been privileged to teach, learn, question, and
create on a campus at the heart o one o the world’s leading universities, supported by
the extraordinary philanthropy o its alumni and riends. Evolving into the largest and
most comprehensive graduate theater conservatory in the English-speaking world—the
only one oering instruction in every discipline o the art orm—David Geen School
o Drama at Yale University oers an abundant array o opportunities to interrogate and
model artistic and managerial practice, on a path toward greater mastery.
The singular partnership o the School with Yale Repertory Theatre promotes the
translation o aesthetic sensibilities into the language o the stage, with a particular
emphasis on playwriting and the interpretation o new and extant texts. The application
o theory to practice through collaboration in production is a central tenet o training
here, and the integration o the School and Yale Rep—where students regularly serve in
proessional positions o significant responsibility—orges a relationship analogous to
that o a medical school and a teaching hospital.
This is not inherently prescriptive; rather, ours is a multigenerational project in which
robust creativity and respectul critique are valued both intrinsically in real time and as
habits o mind and body to be refined in a variety o lielong pursuits. Graduates o the
School apply their training to careers in proessional theater, opera, dance, film, televi-
sion, radio, and other media, as well as in teaching, scholarship, philanthropy, public
policy, and less obvious fields too numerous to mention.
As is true o any school or theater, the most consequential decisions made in our
community are these: who comes here to teach, who comes here to learn, and who comes
here to work. In every case, we inclusively recruit those who are leading practitioners and
those who show potential or leadership and provide them with resources to energize
their bravest and most responsible choices here at Yale and in the wider world.
This bulletin is the single best written introduction to our work that we can oer
you. It is designed to reflect key premises o our training and practice, including the
vast majority o the curriculum and the most significant policies o the School and Yale
University: it comprises both our imperections and our considered eorts to bring
about much-needed change. We challenge ourselves to reassess and rebuild our ways
o working, in the context o a global pandemic, financial upheaval, and our keenly elt
moral obligation both to acknowledge our history and to take steps to dismantle racism
and anti-blackness in our pedagogy and theater making. Our endeavors at the School
and Yale Rep must center the development o anti-racist policy and practice or years
to come. We strive to build an increasingly inclusive art orm joyully recognizing our
shared humanity, celebrating dierences, and honoring the intersectionality o identities
and cultures.
In an introductory document, we cannot presume to capture the breadth and pos-
sible influence on you o oerings here in Greater New Haven, including courses and
programs at the other world-class graduate and proessional schools and in Yale College;
the cultural communities, institutions, restaurants, and shops; and the natural beauty o
New England and its shoreline, in every season o the year.
David Gefen School o Drama –
So, we outline here what you might experience when you come to visit, and especially
should you come to teach, learn, or work at David Geen School o Drama and Yale
Repertory Theatre. And whenever and however you do engage with our community, we
look orward to welcoming you in the unique ellowship o live theater.
James Bundy
Elizabeth Parker Ware Dean and Proessor o Drama, David Geen School o Drama
Artistic Director, Yale Repertory Theatre
Mission
David Geen School o Drama and Yale Repertory Theatre train and advance leaders
in the practice o every theatrical discipline, making art to inspire joy, empathy, and
understanding in the world.
Artistry
We expand knowledge to nurture creativity and imaginative expression embracing the
complexity o the human spirit.
Belonging
We put people first, centering well-being, inclusion, and equity or theater makers and
audiences through anti-racist and anti-oppressive practices.
Collaboration
We build our collective work on a oundation o mutual respect, prizing the contribu-
tions and accomplishments o the individual and o the team.
Discovery
We wrestle with compelling issues o our time. Energized by curiosity, invention, brav-
ery, and humor, we challenge ourselves to risk and learn rom ailure and vulnerability.
History and Facilities
Yale University ounded a Department o Drama in the School o Fine Arts in
through the generosity o Edward S. Harkness, B.A. . In , while the University
Theatre was under construction, the first class o students was enrolled. George Pierce
Baker, the oremost teacher o playwriting in America, joined the aculty to serve as the
first chair o the department, and the first Master o Fine Arts in Drama was conerred
in .
In , by vote o the Yale Corporation, the department was organized as a separate
proessional school, Yale School o Drama, oering the degrees o Master o Fine Arts,
Doctor o Fine Arts, and Certificate in Drama (or those students who complete the
three-year program without having the normally prerequisite bachelor’s degree).
The School is now David Geen School o Drama at Yale University in celebration
o a million gi made by the David Geen Foundation in to support tuition
remission or all degree and certificate students in perpetuity.
In , under the leadership o Dean Robert Brustein, Yale Repertory Theatre was
ounded as part o Yale School o Drama, establishing a complementary relationship
between conservatory and proessional practice similar to that o a medical school and
a teaching hospital.
A hallmark o Robert Brustein’s artistic leadership o Yale Repertory Theatre rom
to was his insistence on a resident company o artists. Brustein’s dream o a
permanent repertory company became an inspiration to the emerging field o nonprofit
theater. The model o Brustein’s programming choices, emphasizing the production o
new plays and classics o the world theater in vivid and inventive interpretations, has
remained the centerpiece o the work o Yale Repertory Theatre.
During the tenure o Lloyd Richards, dean and artistic director rom to ,
the theater increased its emphasis on the production o new plays. Athol Fugard, Lee
Blessing, and August Wilson were among the playwrights who premiered their work at
Yale Rep during Richards’s leadership. Yale Rep was one o the first resident theaters to
regularly transer serious work to the commercial theater, developing a model o proes-
sional producing that changed the course o new play development in the American
theater.
Stan Wojewodski, Jr., dean and artistic director rom to , was notable or
his commitment to the individual artist. Wojewodski made long-term commitments to
Suzan-Lori Parks, Len Jenkin, and Ralph Lemon, as well as numerous actors, directors,
and perormance artists.
James Bundy, dean and artistic director since , has continued Yale Rep’s tradition
o presenting bold interpretations o classics and extended the Rep’s legacy o producing
new plays and musicals. The Binger Center or New Theatre, established in , under-
writes commissioning, development, and production at Yale Rep and across the country.
History and Facilities
To date, the Binger Center has supported the work o more than seventy commissioned
artists as well as the world premieres and subsequent productions o more than thirty
new plays and musicals. More inormation on the Binger Center or New Theatre can be
ound at www.yalerep.org/productions-and-programs/binger-center-or-new-theatre.
Yale Repertory Theatre has produced well over premieres, including two Pulitzer
Prize winners and our other nominated finalists. Seventeen Yale Rep productions have
advanced to Broadway, and many plays first produced at Yale Rep have been presented
at theaters across the country. Yale Rep productions have garnered more than orty Tony
Award® nominations and ten Tony awards; the theater is also the recipient o the Tony
Award or Outstanding Regional Theater.
The University Theatre at York Street is David Geen School o Drama at Yale’s center.
It includes a proscenium theater, seating , which is shared with the undergraduate
dramatic association. The University Theatre also houses the main administrative oces;
the scene, prop, metal, electrics, and costume shops; a lounge; and several classrooms.
Yale Repertory Theatre is in a distinctive historical building on the corner o Chapel
and York streets. Formerly the Calvary Baptist Church, the theater contains a -seat
auditorium acing a modified apron stage, and the School and Yale Repertory Theatre
box oce.
The Iseman Theater in Holcombe T. Green, Jr. Hall, located at Chapel Street,
contains a flexible perormance space seating up to . This building also houses the
Yale School o Art.
Park Street, also known as the Annex, houses the Design program; the Robertson
Computer Lab; the Laurie Beechman Center or Theatrical Sound Design and Music; a
lighting, sound, and projection lab; and several classrooms.
Park Street contains the Yale Cabaret as well as rehearsal rooms and perormance
space, classrooms, aculty oces, and the oces o Theater magazine.
York Street is home to several key administrative oces, including registrar,
admissions, business, and financial aid, as well as the paint shop, rehearsal rooms,
classrooms, drama storage, and aculty oces. This building also houses the Binger
Center or New Theatre and the Center or Collaborative Arts and Media.
York Street is home to aculty oces o the Dramaturgy and Dramatic Criticism
program.
Crown Street houses aculty, administrative oces, classrooms, rehearsal space,
and a media workshop or projection design.
The Robert B. Haas Family Arts Library at York Street encompasses the merged
holdings o the ormer Art & Architecture and Drama Libraries, the Arts o the Book
Collection, and the sta o the Visual Resources Collection. This makes it the primary
collection or the study o art, architecture, and drama production at Yale. Currently, the
drama collections have approximately , volumes, including plays by American
and international playwrights; books on the history o theater, theater architecture,
dramatic criticism, scenery, costume, lighting, sound, and projection design, technical
production, and theater management; biographies; and related reerence books. Other
materials rom the ormer Drama Library that document theatrical production through
photographic prints, production books, scrapbooks, and ephemera are now part o the
David Gefen School o Drama –
Arts Library Special Collections department. Highlights include the Rollo Peters Archive,
the Rockeeller Theatrical Prints Collection, the Doolittle Collection o Japanese Theatre
Prints, and the George Pierce Baker Collection. David Geen School o Drama students
are ree to use all Yale University Library collections, including those o the three central
libraries—Sterling Memorial Library, Beinecke Rare Book and Manuscript Library, and
the Anne T. and Robert M. Bass Library—and o the other graduate and proessional
schools.
The Center or Collaborative Arts and Media (CCAM) at York Street is a multimedia
acility that establishes connections between traditional art and the computer age. The
CCAM serves the several arts departments and institutions at Yale. Beyond providing
classroom and laboratory acilities, the CCAM provides instruction and equipment that
allow aculty and students in all arts disciplines to discover and create in the diverse
fields o electronic media. Advanced technologies, sta expertise, and interdisciplinary
approaches make the CCAM an ideal auxiliary or Yale’s arts community.
David Geen School o Drama urges all students to consider the purchase o a laptop
computer, accessories, and appropriate soware to use during their time at the School.
Students should contact their program or requirements specific to their discipline.
General inormation is available rom IT at Yale at https://studenttechnology.yale.edu/
guide/tips-choosing-new-computer, or contact the Digital Technology Department or
more assistance. Please see the chapter Financial Aid Policy or inormation regarding
available computer loans.
Student Computer Labs
The School maintains the Robertson Computer Lab in the basement o Park Street.
The acility is open to drama students twenty-our hours a day or School-related proj-
ects. It eatures high-powered workstations and a networked printer/copier. Soware in
the lab includes Adobe Creative Cloud, AutoCAD, Microso Oce, and Vectorworks.
Additional workstations or casual use are available in the lounge area on the third
floor o York Street and near the business oce on the second floor o York Street.
Other student computers are assigned to the various programs or use by students
engaged in program-related academic and production work. Networked printer/copiers
assigned to each program can be accessed by students. Students should check with their
program or urther inormation.
Yale Soware Library
Yale has obtained site-wide licensing or some widely used soware, and it makes copies
available or download at https://soware.yale.edu. These include Microso Oce and
Adobe Creative Cloud. Please check the site to download these and to see what other
titles are available.
History and Facilities
Soware Training
An extensive online library o soware training is available at no cost to all Yale students,
sta, and aculty. The training library includes detailed instruction on Adobe Creative
Cloud, Microso Oce applications, and AutoCAD, among many others. To learn more,
please visit https://your.yale.edu/work-yale/learn-and-grow/online-learning.
Network Access
Yale University and David Geen School o Drama provide a range o computer resources
aimed at supporting student needs. Students should visit https://dgsdino.yale.edu and
https://its.yale.edu to learn how to access wireless networking, VPN, network drives,
cloud storage, printers, email, antivirus soware, and other crucial inormation.
Student Websites
The digital communications associate is available to provide advice and consultation on
students’ personal websites. Please contact them directly to set up meeting times.
Degrees
The Master o Fine Arts (M.F.A.) degree is conerred by the President and Fellows o
Yale University on students holding a bachelor’s degree rom an accredited college who
complete with distinction any o the programs o study outlined and who exhibit excel-
lence in their proessional practice. Three years in residence is the time required or this
work; on rare occasions the aculty o David Geen School o Drama may reduce the
residency requirement, but in no case below a minimum o two years. The M.F.A. is
awarded in the ollowing areas o study: Acting, Design, Directing, Dramaturgy and
Dramatic Criticism, Playwriting, Stage Management, Technical Design and Production,
and Theater Management.
The Doctor o Fine Arts (D.F.A.) degree is conerred by the President and Fellows o Yale
University on students who hold the M.F.A. degree in Dramaturgy and Dramatic Criti-
cism and who have completed the M.F.A. qualiying comprehensive examinations and
have written a dissertation o distinction on a subject approved by the D.F.A. committee.
This committee is comprised o the ull-time aculty o the Dramaturgy and Dramatic
Criticism program.
The Certificate in Drama is conerred by the President and Fellows o Yale University on
students who do not hold an undergraduate degree rom an accredited college, but who
complete with distinction the three-year program o study in Acting, Design, Directing,
Playwriting, Stage Management, or Technical Design and Production. The Certificate in
Drama is subject to the same training requirements as that o the M.F.A. degree. Upon
written request the certificate will be converted to an M.F.A. degree i a student later
satisactorily completes an accredited bachelor’s degree elsewhere.
Nondegree Study
The Technical Design and Production program oers one-year internships or those
seeking to become proessional scenic carpenters, sound engineers, projection engineers,
properties supervisors, scenic artists, costumers, or production electricians. David Geen
School o Drama awards a Technical Internship Certificate to interns who complete the
internship with distinction.
Each year, a limited number o scholars are admitted to David Geen School o Drama
as one-year special research ellows. These ellows are usually proessionals in the field
o theater rom abroad who wish to pursue research and audit one or two courses a term
within the School. The research and auditing o courses is arranged in consultation with
the appropriate program chair and the registrar. There is no ellow status aliated with
the Acting program. Special research ellows are not eligible or financial aid according
to ederal guidelines; they are required to pay tuition and are not eligible or Yale Health
Basic Coverage.
Each year, some students are admitted to David Geen School o Drama as one-year
special students in the programs o Design; Dramaturgy and Dramatic Criticism;
Technical Design and Production; or Theater Management. These students must be
in residence on a ull-time basis and are not eligible or a degree or certificate. The cur-
riculum or special students is arranged in consultation with the appropriate chair.
Special students may apply or admission to the program o study during their one-
year residency in accordance with the program’s application deadline. They must comply
with School’s admission requirements and, i admitted, may matriculate as second-year
students i they have ulfilled all o their program’s first-year requirements. Special stu-
dents are not eligible or financial aid according to ederal guidelines; they are required
to pay tuition and are not eligible or Yale Health Basic Coverage.
Acting (M.F.A. and Certificate)
Tamilla Woodard, Chair
Grace Zandarski, Associate Chair
The Acting program admits talented and committed individuals rom a wide range o
backgrounds who possess a lively intelligence, a strong imagination, a collaborative
ethos, and a physical and vocal instrument capable o development and transormation
and prepares them or work as proessional actors. Combining in-depth classroom train-
ing with interdisciplinary production opportunities, the program urther recognizes and
arms the call or our field, our aculty, and our theater-makers-in-training to prioritize
anti-racist and anti-oppressive practices and pedagogies in order to create a more just,
joyul, and liberated proession. At the conclusion o their training, graduates will be
prepared to work on a wide range o material in multiple genres, venues, and collabora-
tive processes.
The first year is a highly disciplined period o training, with a concentration on the
basic principles o cra that lead to extraordinary acting: active listening, authentic
response, deep imagination, and a spirit o play. Models o realism are explored through
work on a variety o scenes by contemporary and modern playwrights, as actors identiy
practical tools or mining the printed text or given circumstances, character, objective,
and action while also acquiring voice and speech skills. The second year begins with
a ocus on verse drama and physical storytelling, creating embodied perormances
o Shakespeare and beginning explorations o clown. The second term o the second
year continues with the emphasis on developing an expansive sense o truth through
heightened and extended language and movement with work on noncontemporary texts
rom world literature. The third year includes work on nonnaturalistic texts with chal-
lenging theatricality, as well as a semester-long solo verbatim project and development
o sel-generated perormance material. Voice and accents work includes developing
the expanded and extended voice, as well as independent exploration o accents and
dialects. Students also have multiple courses in learning to work on camera and in ront
o a microphone, transerring their acquired skills to the mediums o film and audio
recording.
School production opportunities include work in a wide-ranging season o directors’
thesis productions, Shakespeare Repertory Projects, new plays by student playwrights,
and program projects led by aculty or a proessional guest director. All casting is
assigned by the Chair o the Acting program (pending approval by the dean) based on
the developmental needs o each student, the needs o the specific project as articulated
by its director, and the desire to achieve a balance o collaborative opportunity between
all students. Actors should take note o the casting policy, described under Program
Assignments. During the academic year, and due in part to the highly interdependent
and collaborative nature o the School, permission to act in projects outside the School
is rarely given.
Yale Repertory Theatre serves as an advanced training center or the program. Most
Acting students will work at Yale Rep as understudies, observing and working alongside
proessional actors and directors. Students may be cast in Yale Rep productions during
Acting (M.F.A. and Certificate)
the season, depending upon their appropriateness to the roles available. Through work
at Yale Repertory Theatre, those students who are not members o Actors’ Equity will
attain membership to the union upon graduation.
Yale Cabaret provides an additional, although strictly extracurricular, outlet or the
exploration o a wide range o material, including sel-scripted pieces, company-devised
original work, adaptations, and musicals. The program’s chair works directly with the
Yale Cabaret artistic directors regarding approval o Cabaret participation by actors.
Participation in Yale Cabaret productions is dependent on students’ program-related
casting obligations and academic standing.
As adult learners in training or a demanding proession and members o a highly
interdependent community o co-learners, attendance at all scheduled classes, tutorials,
conerences, rehearsal calls, work-study assignments, production assignments, and
productions is expected and mandatory. I students are unable to be in attendance as
expected due to personal illness or amily emergency, they have a responsibility to notiy
all those who will be aected by their absence and in as timely a manner as possible.
:
Class o
Year one (2023–2024)
Course Subject
DRAM a The Theatrical Event
DRAM b New Play Lab
DRAM a Authentic Collaboration
DRAM a/b Acting I
DRAM a/b Voice I
DRAM a/b Speech and Accents I
DRAM a/b The Body as Source
DRAM a/b Alexander Technique I
DRAM a Play
DRAM b Text Analysis I
DRAM a Rehearsal Practicum: Meeting the Play
DRAM a/b Acting Intimacy and Combat or the Stage
DRAM a Activated Analysis
DRAM b Anti-Racist Rehearsal Coordinator (ARC) Fundamentals I
DRAM a/b Global Theater and Perormance: A Theater History Survey
Year two (2024–2025)
Course Subject
DRAM a Text Analysis II
DRAM a Shakespeare Practicum
DRAM b Acting II: Plays o Extended and Heightened Language
DRAM a/b Voice II
DRAM a/b Speech and Accents II
DRAM b The Body on Set I
David Gefen School o Drama –
DRAM a/b Alexander Technique II Tutorials
DRAM a/b Clown
DRAM a Character Analysis and Movement
DRAM a Shakespeare Embodied
DRAM a/b Advanced Principles o Acting Stage Combat
DRAM a/b Singing II and Tutorials
DRAM b Mapping the Energetic Body
Year three (2025–2026)
Course Subject
DRAM a The Body on Set II
DRAM a Commedia
DRAM b Character Analysis and Movement
DRAM a Acting III
DRAM b Actor Showcase
DRAM a Voice III
DRAM a/b Speech and Accents III
DRAM a/b Alexander Technique III Tutorials
DRAM a You Are the Creator
DRAM b Voiceover Workshop
DRAM a/b Acting Through Song
DRAM a Taming the Cyclops: How to Do Your Best Work in an
On-Camera Audition
DRAM b On-Camera Acting Technique
DRAM a Voices or Animation and other Mediums
DRAM b Proessional Preparation and Audition Workshop
DRAM a The Art o Sel-Tape or Television, Motion Pictures, and Theater
Class o
Year two (2023–2024)
Course Subject
DRAM a Text Analysis II
DRAM a Shakespeare Practicum
DRAM b Acting II: Plays o Extended and Heightened Language
DRAM a/b Voice II
DRAM a/b Speech and Accents II
DRAM b The Body on Set I
DRAM a/b Alexander Technique II Tutorials
DRAM a/b Clown
DRAM a Character Analysis and Movement
DRAM a Shakespeare Embodied
DRAM a/b Advanced Principles o Acting Stage Combat
DRAM a/b Singing II and Tutorials
DRAM a Mapping the Energetic Body
Acting (M.F.A. and Certificate)
Year three (2024–2025)
Course Subject
DRAM a The Body on Set II
DRAM a Commedia
DRAM a Acting III
DRAM b Actor Showcase
DRAM a Voice III
DRAM a/b Speech and Accents Tutorials
DRAM a/b Alexander Technique III Tutorials
DRAM a You Are the Creator
DRAM b Voiceover Workshop
DRAM a/b Acting Through Song
DRAM a Taming the Cyclops: How to Do Your Best Work in an
On-Camera Audition
DRAM b On-Camera Acting Technique
DRAM a Voices or Animation and other Mediums
DRAM b Proessional Preparation and Audition Workshop
DRAM a The Art o Sel-Tape or Television, Motion Pictures, and Theater
Class o
Year four (2023–2024)
Course Subject
DRAM a The Body on Set II
DRAM a Commedia
DRAM a Acting III
DRAM b Actor Showcase
DRAM a Voice III Tutorials
DRAM a/b Speech and Accents Tutorials
DRAM a/b Alexander Technique III Tutorials
DRAM a You Are the Creator
DRAM b Practices or Opening and Grounding
DRAM b Voiceover Workshop
DRAM a/b Acting Through Song
DRAM a Taming the Cyclops: How to Do Your Best Work in an
On-Camera Audition
DRAM b On-Camera Acting Technique
DRAM a Voices or Animation and other Mediums
DRAM b Proessional Preparation and Audition Workshop
DRAM a The Art o Sel-Tape or Television, Motion Pictures, and Theater
Anti-Racist Theater Practice Requirement
Acting students are required to enroll in DRAM b, Anti-Racist Rehearsal Coordina-
tor (ARC) Fundamentals I, in order to ulfill the School’s anti-racist theater practice
requirement. Combined with the prerequisite workshop, Everyday Justice: Anti-Racism
David Gefen School o Drama –
as Daily Practice, this course oers vital strategies or the lielong development o indi-
vidual and communal anti-racist practice.
Theater History Requirement
Acting students are required to enroll in a DRAM a/b, Global Theater and Per-
ormance, in order to ulfill the School’s theater history requirement. This course is
considered a crucial oundation or all o the program’s students.
DRAM 50a, The Theatrical Event See description under Directing.
DRAM 51b, New Play Lab See description under Playwriting.
DRAM 53a, Authentic Collaboration Artists and their organizations are oen urged to
“collaborate,” and indeed, many o us recognize the value o collective work. Yet ew o us
are ormally trained to create together. In this one-week intensive class, students explore
seven collaborative principles, illuminated by their own experiences, which serve as a
springboard or exploring how theoretical models can be converted to practical skills. A
discussion o the five interactive strategies o eective collaborators leads to three hands-
on collaborative projects, oering a visceral opportunity to actually practice collaborating
in an environment ree rom the production pressures in which collaboration is usually
encountered. Written and visual support materials are provided. Ben Krywosz
DRAM 103a/b, Acting I This is a studio-based exploration o the internal and external
preparation an actor must undergo in order to eectively render the moment-to-moment
lie o a given character. This course is meant to promote a rigorous investigation o
how the actor uses the sel as the oundation or transormation. The first term o this
class employs a series o questions to examine the principles and cra behind acting
technique while exploring the plays o a wide variety o twentieth- and twenty-first-
century playwrights. The second term includes a sequence o simulated rehearsals in
order to put those principles and cra into practice. Gregory Wallace
DRAM 113a/b, Voice I The first year o voice training is structured as a progression o
exercises/experiences designed to liberate the individual’s natural voice rom habitual
psychophysical tensions; to connect image, intention, and emotion to breath and
sound; to develop the voice’s potential or expression and awaken the actor’s appetite
or language; and to promote vocal ease, clarity, power, stamina, range, and sensitivity
to impulse. Walton Wilson
DRAM 123a/b, Speech and Accents I Speech training seeks to broaden the actor’s range
o imaginative vocal expression and to deepen the actor’s sensory relationship to lan-
guage. Actors conduct a rigorous examination o their own speech habits, idiolects, and
linguistic identity through exploration o vocal physiology. Through this examination o
their own idiolects, actors build the tools o accent transormation, including vocal tract
posture, prosody (melody and rhythm), and phonetics. To encourage speech that flows
reely rom impulse and breath, the approach uses exercises that are actively rooted in the
whole body rather than being limited to the suraces o the mouth. In the second term,
Acting (M.F.A. and Certificate)
the actors broaden the boundaries o their language use through the study o accents in
connection with dramatic text, including texts used in acting classes. Julie Foh
DRAM 133a/b, The Body as Source This course works to bring awareness and inte-
gration to the physical, mental, emotional, and energetic aspects o the actor. Through
specific physical training exercises, participants are encouraged to identiy and release
holdings in the mind/body system, allowing them to deepen a connection to imagery,
physical impulses, and acting choices. The class also includes application to character
creation and a body-first approach to scene-work. Erica Fae
DRAM 143a/b, Alexander Technique I Oered in all three years through class work and
private tutorials, this work develops the actor’s kinesthetic and spatial awareness, osters
balance and alignment, and, through breath work, promotes the connection between
voice and body. Fabio Tavares
DRAM 153a, Play This course explores the actor’s playul spirit and the notion o the
theatrical event as “game.” Through a series o games and improvisation and composi-
tion exercises, students develop complicity with ellow actors/the audience and discover
qualities o openness, spontaneity, generosity, and attack as they are encouraged to take
risks, access their imagination, and play ully with their voice and body. Exercises explore
status, ocus, scale, presence, flow, and impulse while delving into the mysterious nature
o “le jeu,” the actor’s pleasure in playing. Justine Williams
DRAM 163a, Text Analysis II This course seeks to provide students with tools to mine
the printed text or given circumstances, character, objective, and action, noting the
opportunities and limitations that the printed play script presents and promoting the
reedom and responsibility o the actor as an interpretive artist. James Bundy
DRAM 163b, Text Analysis I This course seeks to provide students with tools to mine
the printed text or given circumstances, character, objective, and action, noting the
opportunities and limitations that the printed play script presents, and promoting the
reedom and responsibility o the actor as an interpretive artist. James Bundy
DRAM 180a, Rehearsal Practicum: Meeting the Play See description under Directing.
DRAM 190a, Shakespeare Practicum This practicum ocuses on the director-actor
collaboration in rehearsals, ocusing specifically on the plays o Shakespeare. In this lab,
second-year actors and directors learn “by doing” how to mine the orm and content o
a Shakespearean text. Students work together to unpack given circumstances, character
objectives, and the central dramatic conflicts o scenes and plays, exploring these in on-
the-eet work while negotiating the space, with the goal o strengthening their ability to
make and receive oers, and to test and develop production ideas within the rehearsal
process. Taught in conjunction with DRAM a. Karin Coonrod
DRAM 203b, Acting II: Plays of Extended and Heightened Language Language in
plays written prior to the twenty-first century comes in all shapes and sizes: poetic,
heightened, extended, and more. This course explores the challenges o these plays and
gives actors the opportunity to employ a variety o tools that are being developed dur-
ing their second year o training. Actors work on material chosen specifically to expand
David Gefen School o Drama –
their emotional commitment to character, imagination, and language. By deepening
their experience with these plays and characters, actors gain the confidence necessary to
approach these roles in the proessional arena. Mary Lou Rosato
DRAM 213a/b, Voice II In the second year o voice training, students ocus on deepen-
ing their awareness o voice as a kinesthetic experience rooted in the body and the need
or expression. Voice II explores how to meet the demands o text with clarity, emotional
depth, personal connection, generosity o scale, ease, and healthy habits. The actor devel-
ops the ability to embody the text through continued physical release work, discovery
o resonant spaces, and advanced vocal skills along with visceral and imaginative text
exploration. Voice II opens pathways or actors to access their most expansive selves in
order to embody characters in every genre and style o play and in every space. Walton
Wilson, Grace Zandarski
DRAM 223a/b, Speech and Accents II The second year o speech training continues
to expand the actor’s range o vocal and imaginative expression away rom their own
idiolect to expand the actor’s toolbox and deepen sensory relationship to language as
applied to heightened dramatic texts. In addition, this course supports the linguistic
preparation or the Shakespeare Character Workshop. In the second term, this course
oers an intensive study o accents and dialects to provide multiple opportunities or
the experience o character transormation and embodying the work into integrative
perormances. Cynthia Santos DeCure
DRAM 233b, The Body on Set I This course deepens the training o the energetic
body and explores how the body can be a ertile resource or the actor’s work or film
and television. This approach to psychophysical work helps the actor bring something
tangible and elt to set, reeing the mind to manage the oen-flurry-like energy o a set
and maintain solid ooting while shooting. We’ll also explore how this physical work
can aid in scaling perormances or various rames, working through multiple takes, and
flourishing despite a typically limited rehearsal process. Erica Fae
DRAM 233a, The Body on Set II A continuation o The Body on Set I, this course
picks up with a more rapid-fire pace and applies what we learned to a wider variety o
scenes. In addition, pending space availability, we will mostly shoot “on location” in this
course, giving participants the experience o doing their work outside o the comortable
(or known) energy o the studio, and in tight, confined, public, or awkward environ-
ments. On set, no one makes that magic happen but you, and we’ll get real-time practice
in channeling “flow” through the chaos. We’ll also save time or conversations about
transitioning into the industry while tending to the actor’s heart through it all. Erica Fae
DRAM 243a/b, Alexander Technique II Tutorials This work develops the actor’s kines-
thetic awareness; osters balance and alignment; coordinates movement; and, through
breath work, promotes the connection between mind, voice, and body. All these elements
are applied during rehearsal and perormance. Through clarity o intention, the actor can
find the organic physical lie o the character. Bill Connington
DRAM 253a, Commedia This course explores the classical archetypes o the commedia
dell’arte. It makes use o mask, physical articulation, sound, and rhythm to develop the
Acting (M.F.A. and Certificate)
transormational power o the actors. When the mask is alive and impulses begin to
travel with abandon through the physical psychology o the body, the student begins
to understand the actor/audience relationship in all its erocious beauty. The work is
primarily improvisational with the actor/creator at the center o the theatrical conversa-
tion. Christopher Bayes
DRAM 263a/b, Clown This course ocuses on the discovery o the playul sel through
exercises in rhythm, balance, generosity, and abandon. The blocks and filters that prevent
the actor rom ollowing impulses ully are removed. It allows the actor to listen with the
body and begin to give more value to the pleasure o perormance. Once actors learn to
play without worry, they begin to discover the personal clown that lives in the center o
the comic world. Christopher Bayes
DRAM 273a/b, Character Analysis and Movement This class explores some anatomical
undamentals o movement through a rigorous daily warm-up. Movement phrases are
embodied investigating weight, intention, direction, and reedom. Original movement
creations, musical theater styles, contact improvisation, and some vernacular dance
orms are also done in class, culminating in combinations o text and movement where
creative reedom in the physical realm is emphasized. Warm-up clothes are worn. Jen-
nier Archibald
DRAM 283a, Shakespeare Embodied This class aims to build each artist’s comprehen-
sion and confidence in Shakespeare’s language while developing their physical, emo-
tional, intellectual, and imaginative responsiveness to the demands and joys o playing
and directing Shakespeare. Equally, it is a collective exploration o the relationship
between the theater artist’s identity and Shakespeare’s stories and characters so they
may speak to us and to our audiences today. What may happen at the encounter o your
imagination, your lived experience, your body, and Shakespeare? Monologues, scenes,
group exercises, reading, and writing assignments. Daniela Varon, Midori Nakamura,
John Douglas Thompson
DRAM 303a/b, Acting III This final scene-study class re-invests in and revisits the
undamentals o the cra by engaging works o contemporary theater that explore per-
ormance beyond the approaches o naturalism and psychological realism. Each round o
“stretch” scenes will increase the actors’ confidence in and ability to connect with the tools
o their practice to identiy, personalize and embody a character’s given circumstances,
pursue objective, activate language, and robustly occupy spaces o make believe in order
to tell the story o the scene with specificity, depth, and ease. Running through the all
term is work on individual interview projects in which students embody and give voice to
the verbatim text o persons they have interviewed, employing the undamental tools o
perormance—deep and proound listening—while bringing to bear a synthesis o their
vocal and physical training to date. Tamilla Woodard, Ron Van Lieu
DRAM 303b, Actor Showcase In their final term, students choose and rehearse scenes,
which are presented to agents, managers, casting directors, and other members o the
industry in New York and Los Angeles. Gregory Wallace and Tamilla Woodard assist in
the scene selection process, with input rom Ellen Novack and an industry guest. Paul
Mullins directs the showcase.
David Gefen School o Drama –
DRAM 313a, Voice III (Class, Tutorials) The third-year curriculum continues the work
o expanding vocal capacity, flexibility, endurance, and expressivity in order to prepare
the actor to play any character in any space with ease. A variety o methodologies, includ-
ing extended vocal techniques, are applied to resonance, range, and vocal extremes such
as screaming and shouting. Gentle release work, designed to ree the body rom habitual
muscular tension, is used to stimulate breath and sound and enhance overall presence.
This class also ocuses on applying voice work to text with the implied goal o empower-
ing actors to trust their voice, ollow their imagination, and bring lie to language on the
stage and screen. Grace Zandarski
DRAM 323a/b, Speech and Accents III (Tutorials) In the third year o speech training,
actors engage in a deep exploration o embodiment o someone else’s linguistic identity
through the Interview Project. This course is a culmination o putting all the actors’ tools
into practice. Speech tutorials in the first term ocus on the analysis and embodiment o
other idiolects. In the second term, material or tutorials can evolve rom any areas o
speech, accent, and text work that the actor wishes to explore. Julie Foh
DRAM 343a/b, Alexander Technique III (Tutorials) This dedicated, one-on-one
support ocuses on awareness o unconscious habits and the experience o stress in
your body. Intention aects your physicality, breathing, emotional impulses, voice, and
attitude. You will learn to make choices to support your creative perormance without the
intererence o unnecessary tension. The Alexander Technique uels your imagination.
Jessica Wol
DRAM 363a, You Are the Creator The purpose o this course is to oer our actors, the
space and time during the first term o their final year o training to explore creativity
that may not be centered on their role as actors, but will enhance their journey as artists,
both at DGSD, and beyond. With lots o individual support, in small class sections,
and through mentoring, actors choose a project to work on or the term in answer to
questions like these: What are you longing to express? What are you passionate about?
What are your concerns and desires? Is there something you’ve always wanted to do or
to make? An actor’s creativity may take any orm: writing, singing, dancing/movement,
learning a musical instrument, writing music, painting, sculpting, cooking, woodwork-
ing, to name only a ew o the limitless possibilities. O course, actors may write or the
theater, tv, or film; they may create or work on a solo perormance piece. Their options
are wide open in this process-oriented, oen joyous work that seeks to celebrate their
ull potential as creator. Joan MacIntosh
DRAM 373b, Practices for Opening and Grounding This eight-week class intensive will
ocus on practical tools or strength, stamina, and ease, bridging your training with the
showcase/proessional leap. Yoga, Qigong, breath work, and meditation will intersect
in dierent places or each o you, and the aim is to finish with an individual physical/
energetic sequence that you can use at any time, based on the things your body, heart,
and mind need to eel healthy and ready to work. Annie Piper
DRAM 383b, Voiceover Workshop This course seeks to provide students with an
overview o the voiceover business. Specifically, we ocus both on the technical aspects
o sel-recording and on navigating through the process o auditioning or casting
Acting (M.F.A. and Certificate)
directors. We develop and increase the speed o the actor’s interpretive, analytical, and
creative skills to adapt to a very quick creative process. Most important, actors learn to
“find” the best part o their voice: where their vocal strengths lie and where their voice
fits in the landscape o voiceover work. Keegan Monti-Kewley
DRAM 403a/b, Acting Intimacy and Combat for the Stage This course is designed to
provide the first-year actor with an understanding o the techniques and saety measures
employed in the practice o theatrical violence and intimacy and how to ully embody
them in character. In the first term we investigate the process or consent and intimacy
work and how to integrate them into the moment-to-moment lie o a scene. In the
second term we ocus on physicalizing conflict and violence. We do so through indi
-
vidual, partner, and group physical exploration, exercises, scene work, and perormance.
This course osters the understanding o collaboration, consent, organic response, and a
deeper knowledge o the physical sel and the group dynamic. Kelsey Rainwater, Michael
Rossmy
DRAM 405a/b, Advanced Principles of Acting Stage Combat We continue building
on the techniques learned in the first year, providing the second-year actor with an
understanding o the techniques and saety measures employed in the practice o armed
theatrical violence. We deepen the understanding o proprioception and weapon aware-
ness when working with a partner and within a group. Upon learning these techniques,
we engage in a deeper exploration o dramatic situation and characterization through
scene study and perormance. Kelsey Rainwater, Michael Rossmy
DRAM 413a/b, Singing II (Class, Tutorials) This work explores the interplay and
integration o imagination, intention, and breath, and the coordinated physical processes
that result in a ree and expressive singing voice. The actors gain experience in acting
sung material through the active investigation o the emotional, linguistic, and musical
demands in songs and musical scene work. Glenn Seven Allen
DRAM 423a/b, Acting Through Song (Class, Tutorials) This course uses tutorials
and group classes to continue a ocus on breath support, ease, range o expression, and
clarity, emphasizing the actor’s commitment to the material in perormance. The course
aims to give each student the experience o bringing healthy and expressive singing
technique to bear while prioritizing the cra o the actor with respect to character, given
circumstances, objectives, action, and stakes. A key goal is to give each student a sense o
their own artistry—at any level o experience—as an actor/singer with individual agency.
Students are required to put at least our songs into an audition binder and to perorm
in the end-o-year Singing Send-O. Anne Toemire
DRAM 453b, Independent Study: Yale Summer Cabaret Students who want to par-
ticipate in the Yale Summer Cabaret may audition to be a perormer or interview or
positions in production, stage management, and administration. Yale Summer Cabaret
oers an opportunity to participate in an ensemble company producing plays or the
School, the larger Yale University community, and the city o New Haven. Through the
Yale Summer Cabaret, participating students gain hands-on, collaborative experience in
all aspects o producing and perorming a ull summer season. Auditions and interviews
are open to non-Acting students. Chantal Rodriguez
David Gefen School o Drama –
DRAM 463a, Taming the Cyclops: How to Do Your Best Work in an On-Camera Audi-
tion In this class, students shoot, examine, and reshoot audition scenes rom all genres
o film and television, helping them acquire the necessary skills to audition successully
both in the audition room and on sel-tapes. The class also includes workshops and
meetings with some o the leading proessional casting directors, agents, managers,
entertainment lawyers, and actors working in the industry. All o this provides students
with the skills and inormation needed to make a smooth transition into the proessional
world. Ellen Novack
DRAM 463b, On-Camera Acting Technique This course introduces students to work-
ing on camera. Brie scenes are filmed the way films are shot: with master shots, two
shots, over-the-shoulder, and close-up shots. The takes are edited into films, which are
watched and critiqued. Various exercises on film are explored; and in each class, strong
perormances rom well-known films are viewed and discussed. Ellen Novack
DRAM 563a, Activated Analysis An introduction to a methodology or actors and direc-
tors developed rom Stanislavski’s final experiments. Through a progression o physical
improvisations—or “études”—students personalize all known given circumstances and
investigate the unanswered questions o a play. The result is a deeply visceral connection
to the world o the play and its characters. Actors and directors discover the text through
the ramework o their own imaginations, impulses, and artistic curiosities. Taught in
conjunction with DRAM a. Annelise Lawson
DRAM 723a, Voices for Animation and Other Mediums This course is an introduction
to creating voices or animation. Students explore a variety o speech exercises including
shiing vocal tract posture, tone, placement, and tempo to develop unique character
voices. Actors practice developing multiple character voices through working with origi-
nal illustrations, animation copy, and various exercises to recall, embody, and sustain the
voices consistently in perormance. This course also oers instruction in various voice
acting modalities taught by guest artists. Cynthia Santos DeCure
DRAM 733a, Mapping the Energetic Body A less reactive nervous system allows you to
attend to the situation at hand, to listen and respond with courage and clarity. A healthy
relationship with your physical and energetic body creates confidence and agency. Map-
ping the route to your own energetic signature via breath work, yoga asana, and qigong
orms will pave the way or connection and transormation. This is a deep, challenging,
and calming group practice. Annie Piper
DRAM 743b, Professional Preparation and Audition Workshop This workshop
addresses the complex social and artistic dynamics o theater auditions and gives
students a chance to urther develop their personal practice and cra in preparation
or pursuing opportunities in the field. Students receive sides to prepare, work with a
reader, and are asked to make adjustments in real time, as well as to observe each other
closely with generosity in an eort to develop confidence in best practices and their own
individuality. Tamilla Woodard
DRAM 763a, The Art of the Self-Tape for Television, Motion Pictures, and Theater
This course explores what makes it possible or actors to show their best work and reveal
their artistry through creating an intelligent, proessional, unique, and dynamic sel-
tape. Johnny Wu
DRAM 863b, Anti-Racist Rehearsal Coordinator (ARC) Fundamentals I This course
oers actors rehearsal and process-acilitation training as anti-racist coordinators.
Taught through the lens o anti-racism, it incorporates social and restorative justice,
cultural competency, and sel care to create an embodied experience where actors learn to
utilize their sphere o power to disrupt white-supremacy culture in processes o creation,
collaboration, and acilitation and as members o the DGSD community. First-year Act-
ing program students are required to enroll in DRAM b, ARC in order to ulfill
the School’s anti-racist theater practice requirement. Combined with the prerequisite
workshop, Everyday Justice: Anti-Racism as Daily Practice, this course oers vital strategies
or the lielong development o individual and communal anti-racist practice. Nicole
Brewer
DRAM 873a/b, Global Theater and Performance As a oundation or lasting creativity,
inspiration, and incitement or innovation, this course oers a look at the history o
theater and perormance and its invitation to the uture o the orm. Tlaloc Rivas
Acting (M.F.A. and Certificate)
Design (M.F.A. and Certificate)
Riccardo Hernández, Cochair
Toni-Leslie James, Cochair
The purpose o the Design program is to develop theater artists who are accomplished,
committed, daring designers o costume, lighting, projection, set, and sound or the
theater. The program encourages students to discover their own process o ormulating
design ideas, to develop a discriminating standard or their own endeavors, and above
all to prepare or a creative and meaningul proessional lie in the broad range o theater
activities.
It is hoped that through their David Geen School o Drama experience, design
students discover a true sense o joy in working with other people and realize the excite-
ment o evolving a production through the process o collaboration.
The program endeavors to create an atmosphere conducive to creative experimenta-
tion, tempered by honest, open criticism and disciplined study.
Students are admitted to the program on the basis o their artistic abilities as shown in
their portolios, as well as their commitment to the theater and their ability to articulate
their ideas.
Approximately seventeen students are admitted each year. There is a high aculty-to-
student ratio. We make a strong personal commitment to each student who is accepted,
and we work to provide the resources necessary or all students to succeed in the program.
The student’s training is accomplished through approximately equal parts classroom
work and production experience. A balance between theoretical work, which students
conceive o and develop in the classroom, and projects that are realized on stage, is the
ever-present goal. Collaboration among disciplines, both within and without the Design
program, is a constant practice.
All Design concentrations are closely interrelated. Each is part o a greater whole.
Thereore, with some exceptions, students in their first year o study take classes in
all five design concentrations. Starting in the second year, the required sequence o
courses or each student ocuses more closely on the student’s primary area or areas o
concentration.
The program reserves the right to alter the required sequence when necessary in
order to provide each student the experience best suited to the student’s particular
circumstances and goals.
The Design program is committed to dismantling racism by engaging in an ongoing
examination o the policies and practices o the program and the proession in general in
order to expose biases and systemic advantage/oppression where they exist and to build
a sae, welcoming, and inclusive environment through anti-racist practices.
:
Our Costume Design concentration is dedicated to the training o new generations
o designers in a diverse community o students and teachers where we ully embrace
dierent perspectives and backgrounds as we actively promote diversity through our cur-
riculum, perormances, and student experiences. The study o costume design requires
us to continuously explore new ways o storytelling as we examine the human spirit to
Design (M.F.A. and Certificate)
be able to communicate the lie condition o the character through clothing on the stage.
Students must have knowledge o the vocabulary o design and be able to communicate
all aspects pertaining to the proession in order to achieve this goal in a sae, welcoming,
and inclusive environment that promotes anti-racist practices. Through class projects,
practical and theoretical, and real experience working on academic and proessional
productions, students will leave the university setting and become valuable, vocal, and
seen members o the entertainment industry.
The first year o study is dedicated to the background and practice o costume design
to develop the students’ technical skills in lie drawing and costume construction, their
knowledge o costume history, and a thorough grounding in the business o proes-
sional costume design, integrating technical skills with theoretical understanding as
students take courses in every design concentration. The second year enhances the
students’ analytical/dramaturgical thinking and critical aesthetic voices in the execution
o designs in collaboration with student and proessional directors, with advanced classes
in lie drawing and digital costume illustration. The third-year students continue their
training based on proessional-level processes and practices with an established director,
culminating in the design o a proessional production. Our training strives to create new
and lasting relationships between designers, directors, actors, and technicians, evolving
into a diverse community that shares a unique and bold aesthetic as our students enter
the proessional world.
Class o
Year one (2023–2024)
Course Subject
DRAM ()a/b Toward Anti-Racist Theatre Practice in Design
DRAM b Costume Construction
DRAM a/b Introduction to Set Design
DRAM a/b Introduction to Costume Design
DRAM a/b The History o Costume
DRAM a/b Lie Drawing Studio
DRAM a Costume Production
DRAM a/b Costume Seminar
Costume Design assistant assignment(s)
Year two (2024–2025)
Course Subject
DRAM a/b Introduction to Lighting Design
DRAM a/b Advanced Costume Design
DRAM b Costume Lie Drawing
DRAM a/b Digital Costume Illustration
DRAM a/b Advanced Discussions in Directing and Scenography (YCC)
DRAM a/b Costume Seminar
Two one-term electives over the course o second and third years o study
Design assignments or School productions
David Gefen School o Drama –
Year three (2025–2026)
Course Subject
DRAM a/b Advanced Proessional Costume Design
DRAM a/b Evolution o Cut and Cloth
DRAM b Costume Lie Drawing
DRAM a/b Digital Costume Illustration
DRAM a/b Costume Seminar
Two one-term electives over the course o second and third years o study
Design assignments or School and/or Yale Repertory productions
Thesis Project: a comprehensive design or a theoretical production
Class o
Year two (2023–2024)
Course Subject
DRAM a/b Introduction to Lighting Design
DRAM a/b Advanced Costume Design
DRAM b Costume Lie Drawing
DRAM a/b Digital Costume Illustration
DRAM a/b Advanced Discussions in Directing and Scenography (YCC)
DRAM a/b Costume Seminar
Two one-term electives over the course o second, third and ourth years o study
Design assignments or School productions
Year three (2024–2025)
Course Subject
DRAM a/b Advanced Proessional Costume Design
DRAM a/b Evolution o Cut and Cloth
DRAM b Costume Lie Drawing
DRAM a/b Digital Costume Illustration
DRAM a/b Costume Seminar
Two one-term electives over the course o second, third, and ourth years o study
Design assignments or School and/or Yale Rep productions
Thesis Project: a comprehensive design or a theoretical production
Class o
Year four (2023–2024)
Course Subject
DRAM a/b Costume Thesis Class
DRAM a/b Costume Seminar
Two one-term electives over the course o second, third, and ourth years o study
Design assignments or School and Yale Rep productions
Thesis Project: a comprehensive design or a theoretical production
Design (M.F.A. and Certificate)
:
Lighting cannot be taught in the classroom. Words and two-dimensional representa
-
tions are not adequate to express all that needs to be expressed or to communicate all
that needs to be communicated when exploring and discovering the role light can play
in live theatrical perormance. Light must be experienced firsthand, in space and in time.
Moreover, like playing an instrument, the skills involved in lighting must be practiced
constantly. Thereore, in the Lighting Design concentration, we prioritize realized
production work and exercises done in theaters or the light lab over theoretical, paper
projects.
Light is intricately intertwined with all the other design concentrations. The configu-
ration o the scenery determines what lighting possibilities exist in any given production;
the silhouettes created by the costumes and their color palette have everything to do with
the composition o the stage picture and the color palette o the lighting; the aural land-
scape and the rhythm o the lighting are two parts o a single whole; projected imagery is
a kind o light itsel. For these reasons, lighting students study the other concentrations,
and we include students o the other concentrations in our lighting classes, as ar as the
schedule will allow. Lighting students also study figure drawing, as the human figure
is the basis o our sense o composition, and drawing is the best possible training or
the eye.
Class o
Year one (2023–2024)
Course Subject
DRAM ()a/b Toward Anti-Racist Theatre Practice in Design
DRAM b Computer-Assisted Design Techniques or Lighting Design
DRAM a/b Introduction to Set Design
DRAM a/b Introduction to Costume Design
DRAM a/b The History o Set Design
DRAM a/b Advanced Lighting Design
DRAM a/b Lie Drawing Studio
DRAM a Draing or Designers
DRAM a/b Intro to Projection Design
DRAM a/b Lighting Seminar
Lighting design assisting assignment(s) and Design assignment(s) or School
productions.
Year two (2024–2025)
Course Subject
DRAM b Computer-Assisted Design Techniques or Lighting Design
DRAM a/b Introduction to Sound Design
DRAM a/b Proessional Lighting Design
DRAM a/b Advanced Set Design II
DRAM b Collaboration Laboratory
David Gefen School o Drama –
DRAM a/b Advanced Discussions in Directing and Scenography (YCC)
DRAM a Dance and Design in Perormance
DRAM a/b Lighting Seminar
Two one-term electives over the course o second and third years o study
Design assignments or School productions
Year three (2025–2026)
Course Subject
DRAM a/b Advanced Proessional Lighting Design
DRAM b Pre-visualization or Lighting Design
DRAM a/b Lighting Seminar
Two one-term electives over the course o second and third years o study
Design assignments or School and Yale Rep productions
Thesis Project: a comprehensive design or a theoretical or Yale Rep production.
Proposals or thesis projects must be approved by the aculty. Detailed thesis
requirements will be published at the beginning o each school year.
Class o
Year two (2023–2024)
Course Subject
DRAM b Computer-Assisted Design Techniques or Lighting Design
DRAM a/b Proessional Lighting Design
DRAM a/b Advanced Set Design II
DRAM b Collaboration Laboratory
DRAM a/b Advanced Discussions in Directing and Scenography (YCC)
DRAM a Dance and Design in Perormance
DRAM a/b Lighting Seminar
Two one-term electives over the course o second, third and ourth years o study
Design assignments or School productions
Year three (2024–2025)
Course Subject
DRAM a/b The History o Set Design
DRAM a/b Advanced Proessional Lighting Design
DRAM b Pre-visualization or Lighting Design
DRAM a/b Lighting Seminar
Two one-term electives over the course o second, third and ourth years o study
Design assignments or School and Yale Rep productions
Thesis Project: a comprehensive design or a theoretical or Yale Rep production.
Proposals or thesis projects must be approved by the aculty. Detailed thesis
requirements will be published at the beginning o each school year.
Design (M.F.A. and Certificate)
Class o
Year four (2023–2024)
Course Subject
DRAM b Pre-visualization or Lighting Design
DRAM a/b Lighting Seminar
Two one-term electives over the course o second, third and ourth years o study
Design assignments or School and Yale Rep productions
Thesis Project: a comprehensive design or a theoretical or Yale Rep production.
Proposals or thesis projects must be approved by the aculty. Detailed thesis
requirements will be published at the beginning o each school year.
:
The proessional uture o projection designers will most likely expand beyond col-
laborative work in text-based, director-driven work to include independent work in
concerts, ballets, installation, and even film. The goal o this program is to strengthen
student skills in all areas. The ocus o the first-year core curriculum is to explore
communication in the various modalities and languages o theatrical design as well as
development o storytelling skills, whether it be through the generating o technical
drawings, the expressive communication o a sketch, the construction o a scenic model,
or setting moving image to music. Student designers may be assigned as assistants,
content creators, or programmers.
Collaborative projects anchor the second year o study. Students take part in an
interdepartmental course with the Directing Program called DRAM a/b, Advanced
Discussions in Directing and Scenography. This course seeks to cultivate and reinorce
the creative relationship and proessional-level processes between directors and design-
ers, concentrating on an in-depth analysis o a selection o twentieth- and twenty-first
century plays and operas. Shorter collaborative projection projects range rom classroom
exploration o a moment rom a new play, student curiosity, as well as two produced
evenings o Opera Scenes with Yale School o Music. In the second year, there are elective
slots students should program according to their specific needs and interests and in
conversation with the aculty. Student design assignments can include design work on
student directors’ thesis projects.
In their third year, students prepare and present an original work as their thesis
project. There may be a proessional assignment at Yale Rep as well. As teachers our role
is to mentor and support the exploration, discovery, and creation o a thesis project, as
well as to prepare students to enter the ever-changing landscape o media design.
Over the course o three years it is our goal to provide significant opportunity to
explore opera, dance, installation, and sel-devised work in addition to text-based works.
Technical classes and workshops will be oered on a rotating basis.
David Gefen School o Drama –
Class o
Year one (2023–2024)
Course Subject
DRAM ()a/b Toward Anti-Racist Theatre Practice in Design
DRAM a The Collaborative Process
DRAM b Computer-Assisted Design Techniques or Lighting Design
DRAM a/b Introduction to Set Design
DRAM a/b The History o Set Design
DRAM a/b Introduction to Lighting Design
DRAM a Lie Drawing Studio
DRAM a Digital Compositing and Creation or Designers
DRAM a Draing or Designers
DRAM a/b Introduction to Projection Design
DRAM b Projection Design Engineering
DRAM b Content Capture and Manipulation or Designers
DRAM a Projection Production Process
DRAM a/b Projection Seminar
Projection design and assisting assignment(s)
Year two (2024–2025)
Course Subject
DRAM b Law and the Arts (module)
DRAM a/b Introduction to Sound Design
DRAM a/b Advanced Set Design II
DRAM b Collaboration Laboratory
DRAM a/b Advanced Discussions in Directing and Scenography (YCC)
DRAM a Motion Graphics and Film Production
DRAM b Content Previsualization and Advanced D Workflows
DRAM a/b YCC Projection Design Companion Class
DRAM a Projection Shots and Systems
DRAM a/b Projection in Practice
DRAM a/b Animation Studio
DRAM a Projection Production Process
DRAM b Advanced Topics in Projection Design
DRAM a/b Projection Seminar
Electives in consultation with Projection aculty
Projection design and assisting assignment(s)
Year three (2025–2026)
Course Subject
DRAM a Dance and Design in Perormance
DRAM a Projection in Practice
DRAM a Projection Production Process
Design (M.F.A. and Certificate)
DRAM b Advanced Topics in Projection Design
DRAM a/b Projection Seminar
DRAM a/b Proessional Development
Six one-term electives (in consultation with Projection aculty)
Projection design and assisting assignment(s)
Thesis Project: conception, creation, and presentation o a live perormance in which
projection ideas and content are ully integrated into the perormance and are
essential to the design
Class o
Year two (2023–2024)
Course Subject
DRAM b Law and the Arts (module)
DRAM a/b Introduction to Sound Design
DRAM a/b Advanced Set Design II
DRAM b Collaboration Laboratory
DRAM a/b Advanced Discussions in Directing and Scenography (YCC)
DRAM a Motion Graphics and Film Production
DRAM b Content Previsualization and Advanced D Workflows
DRAM a/b YCC Projection Design Companion Class
DRAM a Projection Shots and Systems
DRAM a/b Projection in Practice
DRAM a/b Animation Studio
DRAM a Projection Production Process
DRAM b Advanced Topics in Projection Design
DRAM a/b Projection Seminar
Electives in consultation with Projection aculty
Projection design and assisting assignment(s)
Year three (2024–2025)
Course Subject
DRAM a Dance and Design in Perormance
DRAM a Projection in Practice
DRAM a Projection Production Process
DRAM b Advanced Topics in Projection Design
DRAM a/b Projection Seminar
DRAM a/b Proessional Development
Six one-term electives (in consultation with Projection aculty)
Projection design and assisting assignment(s)
Thesis Project: conception, creation, and presentation o a live perormance in which
projection ideas and content are ully integrated into the perormance and are
essential to the design
David Gefen School o Drama –
Class o
Year four (2023–2024)
Course Subject
DRAM a Motion Graphics and Film Production
DRAM b Content Previsualization and Advanced D Workflows
DRAM a Projection Shots and Systems
DRAM a Dance and Design in Perormance
DRAM a Projection in Process
DRAM b Advanced Topics in Projection Design
DRAM a/b Projection Seminar
DRAM a/b Proessional Development
Four one-term electives (in consultation with Projection aculty)
Projection design and assisting assignment(s)
Thesis Project: conception, creation, and presentation o a live perormance in which
projection ideas and content are ully integrated into the perormance and are
essential to the design
:
The Three-Year Curriculum Arc (Scenography)
In the first year, students delve into a wide spectrum o classic texts, operas, and musicals
alongside modern and contemporary works. The goal is to create three-dimensional
models every week and present the completed model (/-in. or /-in. scale) the ol-
lowing week. This structure provides the oundation on which the ollowing two years
are based. During the course o the year the students also assist on student productions
and at the Yale Repertory Theater.
In the second year, the set designers meet twice per week. On Wednesdays the students
take part in an interdisciplinary course with the Directing program in DRAM a/b
Advanced Discussions in Directing and Scenography. This course seeks to cultivate and
reinorce the creative relationship and proessional-level processes between directors
and designers, concentrating on an in-depth analysis o a selection o twentieth- and
twenty-first-century plays and operas. On Fridays the students meet with the Set Design
aculty in discussions that expand and deepen the exploration o the texts discussed
in the Wednesday collaborative class rom a scenographic perspective. There are two
projects per term, each culminating in a final presentation. Students also design or
David Geen School o Drama productions. At the end o the second year, students
interview with directors or Yale Repertory Theatre productions which they design the
ollowing school year.
In the third year, the students choose their own texts and operas, including adapta-
tions. Having a strong oundation in classic, modern, and contemporary works to draw
on, the students are able to develop a more personal approach. The second term o the
Design (M.F.A. and Certificate)
third year concentrates on a thesis that is presented to the entire Design aculty. It is also
during this year the students design a Yale Repertory Theatre or Yale Opera production.
The overall mission o the program is to nurture a thorough appreciation o exist-
ing scenographic traditions as well as a vigorous commitment to developing individual
voices or a more equitable, diverse, and inclusive American theater.
Class o
Year one (2023–2024)
Course Subject
DRAM ()a/b Toward Anti-Racist Theatre Practice in Design
DRAM a/b Introduction to Set Design
DRAM a/b Introduction to Costume Design
DRAM a/b The History o Set Design
DRAM a/b Introduction to Lighting Design
DRAM a/b Lie Drawing Studio
DRAM a/b Draing or Set Designers
DRAM a/b Draing Review
DRAM a/b Set Seminar
Set Design assisting assignment(s)
Year two (2024–2025)
Course Subject
DRAM a/b Advanced Set Design
DRAM a/b Scenic Painting
DRAM a Digital Compositing and Creation or Designers
DRAM a/b Introduction to Projection Design
DRAM a/b Advanced Discussions in Directing and Scenography (YCC)
DRAM a/b Draing Review
DRAM a/b Set Seminar
Two one-term electives over the course o second and third years o study
Design assignments or School productions
Year three (2025–2026)
Course Subject
DRAM a/b Advanced Proessional Set Design
DRAM a/b Draing Review
DRAM a/b Set Seminar
Two one-term electives over the course o second and third years o study
Design assignments or School and/or Yale Repertory productions
Thesis Project: a comprehensive design or a theoretical production
David Gefen School o Drama –
Class o
Year two (2023–2024)
Course Subject
DRAM a/b Advanced Set Design
DRAM a/b Scenic Painting
DRAM a Digital Compositing and Creation or Desginers
DRAM a/b Introduction to Projection Design
DRAM a/b Advanced Discussions in Directing and Scenography (YCC)
DRAM a/b Draing Review Session
DRAM a/b Set Seminar
Two one-term electives over the course o second, third, and ourth years o study
Design assignments or School productions
Year three (2024–2025)
Course Subject
DRAM a/b Advanced Proessional Set Design
DRAM a/b Draing Review Session
DRAM a/b Set Seminar
Two one-term electives over the course o second, third, and ourth years o study
Design assignments or School and/or Yale Repertory productions
Thesis Project: a comprehensive design or a theoretical production
Class o
Year four (2023–2024)
Course Subject
DRAM a/b Draing Review Session
DRAM a/b Set Seminar
DRAM a/b Set Thesis Class
Two one-term electives over the course o second, third, and ourth years o study
Design assignments or School and/or Yale Rep productions
Thesis Project: a comprehensive design or a theoretical production
:
Sound is inherently personal. Beautiul sonics or any two people will be dierent, yet
the overall goal o the Sound Design concentration at David Geen School o Drama is
to find the bridge between the personal and the universal, to discover the essence and
atomic quality o sound such that one can bring one’s personal perspective while being
able to eectively communicate one’s concepts with anyone. Openness, inclusiveness,
and rigorous work ethic are the necessary qualities one must have to achieve this goal in
the Sound Design concentration. There will be many collaborative circumstances, rom
Design (M.F.A. and Certificate)
the classroom to the proessional stage at Yale Repertory Theatre, or students to have an
opportunity to sharpen their technical skills and develop their creative voice.
The Sound Design experience at the School is unique in that the five areas o design—
set, costume, lighting, projection, and sound—are integrated. This ensemble approach
provides a oundation or the collaborative experience at the School. Students must be
dedicated and willing to work hard. The course work covers design aesthetics, script
interpretation, dramaturgy, music composition, critical listening, proessional collabora-
tion, sound and music technology, acoustics, aural imaging in large spaces, investiga-
tions into psychoacoustics, digital audio production, advanced sound delivery systems,
advanced problem solving, advanced digital applications, production organization, and
proessional development, all in concert with a wide variety o practical assignments.
Class o
Year one (2023–2024)
Course Subject
DRAM ()a/b Toward Anti-Racist Theatre Practice in Design
DRAM a/b Survey o History and Drama
DRAM a Introduction to Lighting Design
DRAM a/b Production Sound Engineering
DRAM a/b Introduction to Sound Design
DRAM b Recording Arts
DRAM a/b Music Lab I
DRAM a Draing or Sound Design
DRAM a/b Sound Seminar
Sound design and assisting assignment(s)
Year two (2024–2025)
Course Subject
DRAM b Collaboration Laboratory
DRAM a/b Introduction to Projection Design
DRAM a/b Advanced Discussions in Directing and Scenography (YCC)
DRAM a Advanced Engineering or Sound Design
DRAM b Designer and Director Workshop
DRAM a/b Music Production or Drama
DRAM b Advanced Sound Design
DRAM a/b Music Lab II
DRAM a/b Sound Seminar
Two one-term electives (in consultation with Sound aculty)
Design assignments or School and/or Yale Rep productions
David Gefen School o Drama –
Year three (2025–2026)
Course Subject
DRAM a Proessional Audio Engineer Development Skills or NY Sound
Practitioner
DRAM a Proessional Development
DRAM a/b Music Lab III
DRAM a Storytelling in Sound Design
DRAM a/b Sound Seminar
Two one-term electives (in consultation with Sound aculty)
Design assignments or School and/or Yale Rep productions
Thesis project
Class o
Year two (2023–2024)
Course Subject
DRAM b Collaboration Laboratory
DRAM a/b Music Production or Drama
DRAM b Advanced Sound Design
DRAM a/b Music Lab II
DRAM a/b Sound Seminar
Up to three production assignments (i prepared)
One term o music elective (optional)
One term o general elective (optional)
Year three (2024–2025)
Course Subject
DRAM a/b Proessional Development
DRAM a/b Music Lab III
DRAM a Storytelling in Sound Design
DRAM a/b Sound Seminar
Up to three production assignments (i prepared)
One term o music elective (optional)
One term o general elective (optional)
Thesis (ull production, research paper, or an original creation)
Class o
Year four (2023–2024)
Course Subject
DRAM a/b Sound Design or Podcast, Film, and Television
DRAM a/b Proessional Development
DRAM a/b Sound Seminar
Design (M.F.A. and Certificate)
Up to three production assignments (i prepared)
One term o music elective (optional)
One term o general elective (optional)
Thesis (ull production, research paper, or an original creation)
Anti-Racist Theater Practice Requirement
Design students are required to enroll in DRAM ()a/b, Toward Anti-Racist Theater
Practice in Design, in order to ulfill the School’s anti-racist theater practice requirement.
Combined with the prerequisite workshop, Everyday Justice: Anti-Racism as Daily
Practice, this course oers vital strategies or the lielong development o individual and
communal anti-racist practice.
Theater History Requirement
Lighting and sound design students are required to enroll in DRAM a/b, Survey o
Theater and Drama in order to ulfil the School’s theater history requirement. First-
year costume design students are required to enroll in DRAM a/b, The History o
Costume, and first-year projection, lighting, and set-design students are required to
enroll in DRAM a/b, The History o Set Design, in order to ulfil the School’s theater
history requirement. These courses are considered a crucial oundation or the program’s
students.
DRAM 3(02)a/b, Toward Anti-Racist Theater Practice in Design This course meets
five times per term with students, using readings, viewings, and discussions in pursuit
o these goals: to identiy the roots and branches o racism and white supremacy in the
structures and practices o theater making in the United States, including at David Ge-
en School o Drama and Yale Repertory Theatre; to interrogate where the practices do
harm and hinder; and to invest in the uture by inviting students and aculty to imagine
and upli systems and cultures that do not depend upon or promote supremacy, to build
a more just and equitable field. Required or first-year students and open to middle- and
final-year students. Zahida Sherman
DRAM 6a/b, Survey of Theater and Drama See description under Dramaturgy and
Dramatic Criticism.
DRAM 66a/THST 414a, Lyric Writing for Musical Theater See description under
Playwriting.
DRAM 89b, Costume Construction See description under Technical Design and
Production.
DRAM 104b, Computer-Assisted Design Techniques for Lighting Designers This
course covers techniques, workflows, and best practices or using computer-assisted
design (Vectorworks) to bring a lighting design rom concept to proessional drawing
package. Students develop skills including drawing techniques; drawing structure and
David Gefen School o Drama –
layout; utilizing working drawings; managing data and working with Lightwright;
developing templates and libraries; and creating clear, well-styled drawings. Students
receive individual guidance on approaching design project challenges and critiques o
their draing presentation. Open to non-Design students with prior permission o the
instructor. Joshua Benghiat
DRAM 112a/b, Introduction to Set Design A two-term introduction or all first-year
designers and interested non-design students to the process o scenic design through
critique and discussions o weekly projects ranging rom classic texts, operas, and musi-
cals alongside modern and contemporary works. There are projects every two weeks.
The goal is to create an in-depth examination o the assigned works leading to a three-
dimensional model (/-in. or /-in. scale) at the end o the second week. Emphasis is
given to the examination o the text and the action o the play, the ormulation o design
ideas, the visual expression o the ideas, and especially the collaboration with directors
and all other designers. There are invited speakers and playwrights discussing some o
the works in class, expanding on the history and context in which the texts were written
in order to have a more comprehensive and dramaturgical understanding o the play.
Riccardo Hernández, Michael Yeargan
DRAM 115a/b, Introduction to Costume Design This course addresses the process and
documentation o designing costumes. Designers are encouraged to develop their eye
by careul study o primary source research, while developing the student’s knowledge
o paperwork and budgeting used by proessional costume designers in the creation
o industry-standard production costume bibles. Course work requires that students
produce many design sketches weekly. Open to non-Design and non-Drama students
with prior permission o the instructor. Toni-Leslie James
DRAM 122a/b, The History of Set Design A survey o the history o the visual aspects
o storytelling through the ages, rom the Greeks to the present day. Though the course
ocuses primarily on the history o western culture, comparisons with theater techniques
o other international cultures are also explored. A key element o the course is the rela-
tionship o the actors, storytellers, and perormers to the observers o the events we call
“theatre” and the evolution o the architectural structures that ocuses this exchange o
ideas, that have become known as “theatres.” Michael Yeargan
DRAM 124a/b, Introduction to Lighting Design This course is an introduction or all
non-lighting design students to the aesthetics and the process o lighting design through
weekly critique and discussion o theoretical and practical assignments. Emphasis is
given to the examination o the action o the play in relation to lighting, the ormulation
o design ideas, the place o lighting in the overall production, and collaboration with
directors, set, costume, and sound designers. Open to non-Design and non-Drama
students with prior permission o the instructor. Alan C. Edwards
DRAM 125a/b, The History of Costume A detailed survey o the history o apparel
worn throughout Western civilization to provide the student with a working vocabulary
o period clothing and the ability to identiy specific garments throughout history. Fall
term: Ancient Greece–. Spring term: –. Open to non-Design and non-
Drama students with prior permission o the instructor. Toni-Leslie James
Design (M.F.A. and Certificate)
DRAM 132a/b, Advanced Set Design This course continues the work started in DRAM
a/b. The course seeks to cultivate and reinorce advanced, proessional-level processes
and practices in scenography. It concentrates on an in-depth analysis o twentieth- and
twenty-first-century plays and operas, with emphasis on transitions as a undamental
rhythmic element o contemporary design. This course is an extension o DRAM ,
ocusing on design realization involving story boards, model making (/-in. and /-in.
scales), and detailed plans. Prerequisite: DRAM a/b. Riccardo Hernández, Michael
Yeargan.
DRAM 134a/b, Advanced Lighting Design This course is designed to help the student
develop a sense o, and a acility with, light as an element o a production. By the cul-
mination o the course students should be comortable calculating and predicting the
behavior o light in three-dimensional space, the interaction o color in light with color
in pigment and have an understanding o the contributions light can make to the mean-
ing and style o a production. Projects are prepared consistent with best proessional
practices. Open to non-Design students who have taken DRAM a/b with permission
o the instructor. Four hours a week. Stephen Strawbridge
DRAM 135a/b, Advanced Costume Design In parallel with DRAM , and building
on the oundation established in previous classes, costume design students work on a
conceptual design conceived through discussions and practices that give equal weight
to all collaboration members. This course ocuses on in-depth dramaturgical study,
character analysis, and the psychology o clothing, exploring how character and story
are revealed through clothing choices, starting at the beginning o the process with the
text/music and culminating in a complete, conceptual design. Oana Botez
DRAM 138a/b, Production Sound Engineering This intensive engineering course cov-
ers the process o planning and installing proessional sound delivery systems, ocusing
on the undamentals o proessional practice with the goal o preparing students or their
production assignments. The course consists o lectures, demonstrations, and hands-on
lab work. Soware requirements are updated annually by the instructor and include
programs or budgeting, draing, and tuning large sound systems. Four hours a week.
Mike Backhaus
DRAM 141b, Law and the Arts See description under Theater Management.
[DRAM 142a/b, Advanced Professional Set Design The course seeks to cultivate and
reinorce advanced, proessional-level processes and practices in the work o third-year
set designers. In designing plays, operas, and other dramatic works o their choosing,
students are encouraged to evolve their own points o view and aesthetics. Work must
be complete and comprehensive. Not oered in –]
[DRAM 145a/b, Advanced Professional Costume Design The course seeks to cultivate
and reinorce advanced, proessional-level processes and practices in the work o third-
year costume designers. Students are encouraged to evolve their own points o view and
aesthetics as designers. Not oered in –]
David Gefen School o Drama –
DRAM 152a/b, Scenic Painting A studio class in painting techniques. Problems in tex-
tures, materials, and styles, preparing students to execute their own and other designs.
Open to non-Design and non-Drama students with prior permission o the instructor.
Three hours a week. Ru-Jun Wang
DRAM 155a/b, Evolution of Cut and Cloth This class is taught collaboratively with
Costume Design aculty and senior drapers o the Costume Shop sta. This is a hands-on
class examining the development o cloth with respect to fiber and technology paralleling
the development o clothing creation throughout the world. Ilona Somogyi, Clarissa
Youngberg
DRAM 158a/b, Introduction to Sound Design In this course, students develop an
understanding about how sound and music can be used eectively as a tool to enhance
meaning in a play. Students analyze scripts, develop critical listening skills, and learn the
undamentals o sound delivery systems as well as terms used to describe the perception
and presentation o sound and music in a theatrical setting. Open to non-Design and
non-Drama students with prior permission o the instructor. Limited enrollment. Two
hours a week. Jill BC Du Bo
DRAM 162a/b, Life Drawing Studio A course in figure drawing or design students.
Drawing is not merely a technique or presentation; it is the language that reveals one’s
thoughts and thus creates a dialogue among the director, the designers, and their col-
leagues. Through drawing, one observes and records one’s world. Drawing inorms and
clarifies one’s vision and is an integral part o the ormulation o a design. Drawing
should be as natural to the visual designer as speaking; thereore, the program oers a
weekly lie drawing class so that design students can keep their skills honed. Two hours
a week. Ru-Jun Wang
DRAM 164a/b, Professional Lighting Design This course aims to prepare students or
the demanding artistic and practical situations aced in the proessional theater envi-
ronment. Projects will involve large-scale, complex challenges such as multi-set plays,
musical comedies, operas, ballets, and repertory situations. Students are encouraged to
evolve their own points o view and aesthetics in finding their solutions. Projects are
prepared consistent with best proessional practices. Open to non-Design students who
have taken DRAM a/b with permission o the instructor. Two hours a week. Stephen
Strawbridge and Alan C. Edwards
DRAM 165b, Costume Life Drawing The course serves as a visual language that trans-
lates human body and space through conscious observation. Each designer can look at
the same object and/or space, but the translation becomes personal. Learning to observe
and personalize the translation is the main goal o the course. The two-hour class ses-
sions are an opportunity to ocus only on the drawing task at hand. Using notebooks and
journals, as well as reading and research methods to process ideas, students utilize the
act o drawing to advance and integrate their individual studio practice both technically
and conceptually. Group critiques, in conjunction with the drawing sessions, as well
as individual meetings with the instructor, serve as integral components o the course.
Permission o the instructor required. Oana Botez
Design (M.F.A. and Certificate)
DRAM 168b, Recording Arts In this course students learn basic recording practice
or remote and studio sessions. Topics include analog and digital recording systems,
spatial audio, elements o psychoacoustics, microphone theory and application, field
recording, music recording, oley recording, monitoring, mixing practice, mastering,
and setting expectations or proessional practice in a studio environment. There are
five recording projects. Required o all sound designers. Open to non-Drama graduate
and proessional-school students with prior permission o the instructor. Not open to
undergraduates. Enrollment limited to six. Two hours a week. Faculty
DRAM 172a, Digital Compositing and Creation for Designers A comprehensive over-
view o modern, ast-paced compositing and creation techniques or creating D and D
content. The creation o digital content and digital art has many ar-reaching application
across disciplines and across styles o work and thought. This course is ocused on the
ast-paced proessional work flow o content creation or entertainment proessionals,
but the methods are universal in their scope and application. The course starts with
undamental industry standards such as Photoshop and AerEects; explores alterna-
tive emerging prosumer workflows and mobile platorm creation; and begins to touch
on advanced workflows in modeling/shading/rendering as undamental components o
Unreal engine, Unity, and Blender. Best proessional practices are taught and adhered
to throughout. Open to non-Design and non-Drama students with prior permission o
the instructor. Joey Moro
[DRAM 174a/b, Advanced Professional Lighting Design This course seeks to culti-
vate and reinorce advanced, proessional-level processes and practices in the work o
third-year lighting designers. In designing plays, operas, and other dramatic works,
students are encouraged to evolve their own points o view and aesthetics. In the all
semester the class meets concurrently with DRAM a/b, Proessional Stage Lighting
Design. Projects align with the projects in that class. (See syllabus or DRAM a/b).
In the spring term projects will be based on theoretical or realized productions chosen
by the student with advice rom aculty. The second project will constitute the lighting
designer’s’ thesis. This project should be large in scale and should be completed accord-
ing to the highest proessional standards. Not oered in –]
DRAM 184b, Previsualization for Lighting Design A survey o pre-visualization pro-
grams, their uses and application in the field o lighting or live entertainment. Joshua
Benghiat
DRAM 185a/b, Digital Costume Illustration This course provides instruction in
introductory and intermediary digital illustration techniques, ocused on costume design
application. Emphasis is placed on creating cohesive digital artwork through direct
painting and drawing in Photoshop, as well as using existing photo resources to assist
in the design and illustration process. Students begin with the basics o creating and
manipulating line work, layer management and blending, and color application. Inter-
mediary skills include understanding Smart Objects and their use, shading techniques,
creating and manipulating patterns and layer fills, use o special tools and brushes,
blending modes, nondestructive editing procedures, and the manipulation o existing
photos into the cohesive whole. Prerequisites: a drawing tablet and access to and basic
amiliarity with Photoshop. Emily Tappan
David Gefen School o Drama –
DRAM 188a/b, Music Lab I This is a music lesson that will take the orm o a laboratory
or exploring music; or exploring how musical ideas, techniques, theory, traditions,
and improvisation can be o use to designers or all sorts o problem solving. Sessions
will be group-oriented and will involve a combination o improvisation, instruction in
musical technique, and the sharing o our ideas and curiosities as the year progresses.
This student-driven course is aimed at addressing the musical concerns and needs o the
individual by strengthening perormance skills and expanding our musical vocabulary.
Musicians o any level o “experience” are welcome: this is not a class about “becoming”
an accomplished musician, but about broadening our abilities to think musically. James
Monaco
DRAM 189a, Costume Production See description under Technical Design and
Production.
DRAM 202a/b, Advanced Set Design II Focusing on idea building, discovery, and point
o view, this course concentrates on design development, allowing students to explore
theatrical space or several productions. The class work builds upon students’ first-year
experiences by giving a longer design and exploration period to dive deeper into both the
text and the design process, while also exploring undamentals o cra using the various
means and materials available to communicate eectively in the collaborative process.
Maruti Evans, Mikiko MacAdams
DRAM 204b, Collaboration Laboratory This course is an opportunity or students
in the various design disciplines to exercise their imaginations and build collaborative
skills using the resources o the Iseman theatre, including the light plots, sound plots,
projection plots, and spacial configurations o the Shakespeare Repertory Projects which
remain in place or a period o time aer each o those productions closes. The class
is divided into groups consisting o one designer rom each discipline. Students rom
the Stage Management Program also participate in these collaborations. Groups are
announced prior to the first class. Projects are based on iconic moments rom plays and
operas amiliar to the students. Finished, polished presentations are not the goal; the
ocus is on process, not product. Design aculty
DRAM 212a/b, Independent Study There may be special circumstances in which a stu-
dent is allowed to pursue a particular area o inquiry independently, and on the student’s
own time. Faculty supervision and approval is required in ormulating the goals and the
methods to be employed and a timetable. Faculty
DRAM 222a/b, Draing for Set Designers The all-term course ocuses on hand
draing or the stage. Students learn how to create a complete set o drawings suit
-
able or budgeting and/or soliciting bids rom shops in the proessional theater. The
spring-term course covers techniques, workflows, and best practices or using AutoCAD
and Vectorworks to bring a set design rom concept to proessional draing package.
Students develop skills and techniques needed to create clear, well-styled drawings that
communicate eectively. The class oers individual guidance on approaching design
project challenges and critiques o draing presentations. Open to non-Design students
with prior permission o the instructor. Maruti Evans, Mikiko MacAdams
Design (M.F.A. and Certificate)
DRAM 224a/b, Introduction to Projection Design In this yearlong course, students
develop an understanding o how projection can be integrated into the theatrical space
and the consideration o media as a storytelling tool. Emphasis is on exploration, non-
narrative storytelling collaboration, and thinking in pictures. Open to non-Design and
non-Drama students with prior permission o the instructor. Wendall K. Harrington,
Shawn Boyle
DRAM 225a/b, Costume Design Thesis This course is or Design students in their
ourth year who are preparing a costume- design thesis needed to achieve their M.F.A.
degrees. Students are given individual guidance and support as they continue to develop
ideas and approaches or a large-scale theoretical project o their choosing. This class
oers the space to hone their individual voice as proessional costume designers. Ilona
Somogyi
DRAM 228a, Draing for Sound Design This course is designed to introduce students
to draing principles and techniques, with an emphasis in draing or sound design.
The course consists o participation-based demonstrations and practical assignments.
It will ocus primarily on VectorWorks but will also equip students with a working
knowledge o AutoCAD, and will address D and D draing in both programs. Draing
practices covered in this course will provide tools directly relevant to proessional work
assignments at the School o Drama and the Rep, but the draing skills developed will
be universal Stephanie Smith
DRAM 232a/b, Advanced Discussions in Directing and Scenography (YCC) Second
Year Collaboration Class. This course seeks to cultivate and reinorce the creative rela-
tionship and proessional-level processes between directors and designers. The class
concentrates on in-depth analysis o twentieth- and twenty-first-century plays and
operas, with emphasis on unearthing visual landscapes and mise en scène rom the given
texts and scores. Design and Directing aculty and guests.
DRAM 238a, Advanced Engineering for Sound Design This course is designed to
provide a practical examination o large-scale sound delivery systems using examples
rom proessional production practice as well as current production assignments. The
objective is to explore all aspects o sound reinorcement and conceptual design theory,
practice, and contemporary tools including networks, large-ormat consoles, and loud-
speaker arrays, and the use o assessment tools such as SMAART. Students have the
opportunity to shape the course content through the critique o their current design
projects. Enrollment limited to second-year sound designers. Two hours a week. Michael
Backhaus
DRAM 239a, Projection Engineering See description under Technical Design and
Production.
DRAM 242a/b, Draing Review Session This class provides an open studio environ-
ment or students to receive support or both production and in-class work on model
making, draing, and general design techniques and processes. Maruti Evans, Mikiko
Suzuki MacAdams
David Gefen School o Drama –
DRAM 244a, Motion Graphics and Film Production This course builds on the skills
introduced in DRAM a and DRAM b and advances them to include rapid iterative
content creation and cross-platorm compositions. This course is aimed at theatrical
projection designers and content creators or live events, however the skills are universal
through the digital-art world. Most digital content workflows rely heavily on animation
in the D space, so that is a main workflow, however D modeling and rendering is
integrated throughout. Creation based on the physical properties o light and the sur-
rounding world is paramount in the creation process. Exact course projects shi based on
the needs o currently enrolled students. New projection mapping soware and technol-
ogy is integrated in class as an expansion o working holistically in D space. Open to
non-design and non-drama students with prior permission o the instructor. Joey Moro
DRAM 254b, Content Previsualization and Advanced 3D Workflows This course
builds on the skills introduced in DRAM a, DRAM b, and DRAM a and
advances them to include rapid content creation and cross-platorm D compositions.
D previsualization that takes into account the physical properties o the world allows or
unparalleled realism is the final product. Design is always a team sport, and “previz” is
the way to communicate those visual ideas. We take animations rom projects prior and
current,and build them into D previz deliverables. We start with simple but eective D
representations and advance to ully physically accurate D renders or clients and direc-
tors. D previz is a powerul and easy tool when approached with the interdisciplinary
mindset this series o courses oers. Open to non-Design and non-Drama students with
prior permission o the instructor. Joey Moro
DRAM 258a/b, Music Production for Drama This course covers making and dealing
with music or drama, with a ocus on workflows, methods, and practical skills. Topics
include: spotting, writing methods, demos, orchestration, creative studio techniques,
sampling, budgeting, recording session preparation, mixing, delivery. Required o all
sound designers. Open to non-Design and non-Drama students with prior permission
o the instructor. Limited enrollment. Two hours a week. Justin Ellington
DRAM 264a/b, 2YCC Projection Design Companion Class This companion course
seeks to support the projection designer in navigating the creative relationship and
design process between directors and designers. This section concentrates on strategies
or meaningul participation in the design process prior to the realized vision o a physi-
cal space. The class interrogates the dramaturgical implications and impact o projection
design on each production and the ways projection design could layer into, or lead, the
visual storytelling. Shawn Boyle
DRAM 272b, Content Capture and Manipulation for Designers An overview and
application o content capture. This course includes video shoots, video capture or
greenscreen, Lidar D scanning, photogrammetry capture or D, and more. We then
use these assets in digital compositing situations as in the all term o DRAM a.
Guided-capture projects are assigned to exercise specific compositing situations. This
course is greatly enhanced by the multidisciplinary nature o the work. Proessional
practices in lighting, film, digital media, as well as traditional art workflows all unction
together to create something greater than the mere sum o their parts. We use cameras,
Design (M.F.A. and Certificate)
both ull-size and mobile, extensively in the capture and creation o media. Knowledge
o photographic practices is encouraged but not required. Best proessional practices are
taught and adhered to throughout. Open to non-Design and non-Drama students with
prior permission o the instructor. Joey Moro
DRAM 274a, Projection Shots and Systems Through drawings, a designer can commu-
nicate the needs, limitations, and possibilities o their system with the team long beore
they have entered the theater or technical rehearsals. Using existing scenic designs and
projection scenarios, designers in this course ocus on creating the drawings and sup-
port documents that communicate the system parameters to vendors, managers, and
colleagues. Emphasis is put on the drawings and documents necessary to send the show
out to bid with a commercial shop. Shawn Boyle
DRAM 278b, Advanced Sound Design This course ocuses on design techniques associ-
ated with the challenges that ace many sound designers and composers in theater, film,
podcasting and audiobook production. Students execute seven to nine challenges with
a variety o potential outcomes, each critiqued in class. Critical listening, musicality,
dramaturgy, system design, editing, and audio delivery. All class work is intended to
promote creativity, ingenuity, and adaptation. Required o all second-year sound design-
ers. Open to non-Design and non-Drama students who have completed DRAM a/b
and a/b. Limited enrollment. Two hours a week with substantial homework. Justin
Ellington
DRAM 288a/b, Music Lab II This is a music lesson that will take the orm o a labora-
tory or exploring music; or exploring how musical ideas, techniques, theory, traditions,
and improvisation can be o use to designers or all sorts o problem solving. Sessions
will be group-oriented and will involve a combination o improvisation, instruction in
musical technique, and the sharing o our ideas and curiosities as the year progresses.
This student-driven course is aimed at addressing the musical concerns and needs o the
individual by strengthening perormance skills and expanding our musical vocabulary.
Musicians o any level o “experience” are welcome: this is not a class about “becoming”
an accomplished musician, but about broadening our abilities to think musically. James
Monaco
DRAM 289a, Draping See description under Technical Design and Production.
DRAM 314a, Dance and Design in Performance This course o eight modules explores
historical and contemporary connections between Western theatrical dance and visual
design (including photography, film, and costume/scenic design) as a means to inorm
and augment participants’ design practice. Considering selected theatrical dance works
rom the eighteenth to the late twentieth centuries, we examine how movement and
design in perormance unction not only as sites o aesthetic, cultural, and political
expression but also as ocal points or issues o visibility and change. Our work encom-
passes critical readings o primary and secondary sources; class discussion; viewing o
images, film, and, as applicable, live perormance or exhibition, culminating in the cre-
ation and workshop perormance o collaborative movement/design projects. Marjorie
Folkman, Oana Botez
David Gefen School o Drama –
[DRAM 324b, The Personal Film: Exploration and Expression The mining o memory
and personal history is crucial to expanding our consciousness o the interplay o sel
with all humanity. It is at the core o all art making. This Spring Module course explores
examples o the cra while supporting students in producing a short film or personal
essay. Open to non-Drama students only with permission o the instructor. No prereq-
uisites. Not oered in –]
DRAM 334a/b, Projection in Practice This course is built in a series o modules prepar-
ing students or the collaborative task o creating projection or the stage. For grading
purposes, any two modules constitute a ull-term course. Opera Scenes anchor every
all; other modules rotate yearly. Fall Module : Projection design in collaboration with
Yale Opera to create or the Fall Opera Scenes in Sprague Hall. Fall Module : Exploring
the use o projection in dance. Spring Module : A consideration o new plays or a look
at installation and perormance art in practice. Modules may rotate in any given year.
Consult the syllabus or more detail. Wendall K. Harrington, Shawn Boyle, and others
DRAM 338b, Professional Audio Engineer Development Skills for the NY Sound Prac-
titioner Working in sound in New York is like working nowhere else. In this course, we
discuss the skills needed to navigate lie in the city, both rom the industry’s standpoint
and rom a more human angle. We discuss assistant design paperwork, Broadway-style
mixing, unions as well as finances, subsistence jobs, and finding an apartment. This
class is mostly in the orm o discussion with limited homework or suggested readings.
Elizabeth Sesha Coleman
[DRAM 339b, Advanced Projection Engineering See description under Technical
Design and Production. Not oered in –]
DRAM 348a/b, Sound Design for Podcast, Film, and Television Sound Design can be
applicable to many mediums and that has never been truer than it is today. In this class
you’ll learn how to apply the tools you already know to creating a narrative podcast,
mixing music dialogue or television and film, and everything leading up to those points.
This class will cover the dierences in terms, soware, design, and application across
these three mediums. Zachary Goldberg, Jill BC Du Bo
[DRAM 354b, Advanced Media Production This combined classroom/online course
ocuses on the production o a collaborative music video utilizing advanced imaging and
motion graphics techniques—including visual synthesis, motion tracking and stabiliza-
tion, compositing, audio synchronization, and motion design—combining our on-site
class sessions with custom-scheduled online production meetings, virtual tutorials and
instruction, progress reviews, and a real-world, virtual digital production pipeline. Not
oered in –]
DRAM 358a/b, Professional Development This class is limited to sound design students
and is ocused on the development and execution o the final year thesis project. The class
will also serve as a proessional mentorship seminar or developing the student’s careers
through their portolio and other online materials as well as networking techniques to
be most eective as an independent working proessional. One hour each week. Limited
enrollment. Jill BC Du Bo
DRAM 364a/b, Animation Studio A hands-on workshop aimed at creating expressive
animations. From a simple movement to an expressive action, how do we create the
appearance o intention, emotion, and materiality in moving images? The class is ocused
on experimentation: aer reviewing the undamentals o a particular style o animation,
such as hand-drawn animation, stop-motion, cutouts, pixilation, or digital animation,
students apply the concepts to exercises resulting in short films. The course empha-
sizes undamental animation tools—timing interpolation, arcs, eases and squeezes,
storyboarding, animatic—as well as animation soware and basic camera techniques.
Students learn how to use appropriate techniques to portray personality, create fluid
body motions and organic movements, staging gesture, thought, material, weight, and
lip-synch. The sessions consist o demonstrations, viewing o related works, hands-on
experimentation, and critique. Computer editing and the use o digital cameras, scan-
ners, and Wacom tablets are critical skills that provide the oundation or this class.
Manuel Barenboim
DRAM 365b, Film and Television Costume Design and Management This course is a
study o the proessional processes o costuming or film and television production. The
emphasis o the course is on the key components o organizational techniques currently
in use by costume proessionals and learning the language o the dierent paperwork
distributed during the film process, in addition to two design projects incorporating
Synconset. Production procedures are scrutinized or each stage o production rom
preproduction to wrap. Toni-Leslie James, Joshua Quinn, Nicole Kyrtsis
DRAM 368a, Spatial Audio Sadah Espii Proctor
DRAM 384a/b, Projection Production Process This course explores the projection
designer’s process on projects including drama, opera, dance, musical theater, and
themed entertainment. Students encounter, discuss, investigate, and prepare or the
design challenges ound in each unique production environment. The course unctions
as a guided brain trust or experimentation in design planning, presentation, and execu-
tion. Students are challenged to explore and refine the process by which they generate,
develop, and communicate their design ideas, as they would in the process o developing
a production. Permission o the instructors required. Shawn Boyle
[DRAM 388a/b, Music Lab III See description under DRAM a/b. Not oered in
–]
DRAM 394b, Advanced Topics in Projection Design This course is a series o scheduled
workshops in technology and design cra with invited specialists. It oers a range o
opportunities, rom insight into an artist’s way o working and exposure to new control
systems, to exploring one’s own artistic interest and deeper explorations o known
control soware. Past technical workshops include: Touch Designer, Isadora, Mapping
Matter, and Disguise. Previous guest artists include Miwa Matreyek, Cynthia Hopkins
and Je Sugg, Dan Braun, Larry Reed, Lenore Malen, Josh Weisberg, and Kym Moore.
Facilitators: Wendall K. Harrington, Shawn Boyle
[DRAM 398a Storytelling in Sound Design In this course students explore the role
o sound in story and how the character o a sound may influence both psychological
Design (M.F.A. and Certificate)
David Gefen School o Drama –
and biological response. Students investigate the eect that audio requencies have on
mood and emotion and the unction o music and sound throughout varying cultures.
Students explore the balance o contemporary and historical sound when developing
a period piece. There are three projects. Required o all sound designers. Not open to
undergraduates. Enrollment limited to six. Two hours a week. Not oered in –]
DRAM 402a/b, Set Seminar A weekly meeting o student set designers in all years o the
program to discuss specific issues arising out o current School and Yale Rep productions
so that all can learn rom the challenges encountered and solutions discovered in actual
production. The ocus is on a horizontal, student-to-student exchange o knowledge, as
opposed to the vertical, aculty-to-student teaching that happens in many classes. This
orum is also open or discussion o any other topics that might influence the thinking o
designers in the contemporary world, such as the work o influential designers, artists,
and films. Michael Yeargan, Riccardo Hernández
DRAM 404a/b, Lighting Seminar A weekly meeting o student lighting designers in all
years o the program to discuss specific issues arising out o current School and Yale Rep
productions so that all can learn rom the challenges encountered and solutions discov-
ered in actual production. The ocus is on a horizontal, student-to-student exchange o
knowledge, as opposed to the vertical, aculty-to-student teaching that happens in many
classes. This orum is also open or discussion o any other topics that might influence
the thinking o designers in the contemporary world, such as the work o influential
designers, artists, and films. Stephen Strawbridge, Alan Edwards
DRAM 412a/b, Set Design Thesis This course seeks to continue to cultivate and rein-
orce advanced, proessional-level processes and practices in the work o ourth-year
set designers. In designing plays, operas, and other dramatic works o their choosing,
students are encouraged to evolve their own points o view and aesthetics. During the
second semester students complete a comprehensive thesis project with the approval and
guidance o the aculty to be presented at the end o the school year. Riccardo Hernández,
Michael Yeargan
DRAM 414a/b, Projection Seminar Each production has unique challenges, and this
course is an opportunity or all projection design students to learn vicariously through
the productions designed by their colleagues. The seminar provides a time and space
or the community o projection designers to examine their process throughout the
production period, getting weekly eedback in areas where they have asked or help or
guidance in areas where their mentors see they need support, and brainstorming with the
group. Using the analogy o Yale Repertory Theatre as a teaching hospital, this seminar
is the skills lab. This is also a time to discuss what’s happening in theater, film, motion
graphics, music, dance, opera, visual art, and sculpture as it relates to, or inspires, our
field. Facilitated by Shawn Boyle
DRAM 418a/b, Sound Seminar These regular meetings are required o all sound
designers. Sound Seminar is a lab or sound designers to unpack their process or cur-
rent projects they are developing or their production assignments or DGSD as well
as an opportunity to urther cultivate their skills with in-class creative assignments.
Design (M.F.A. and Certificate)
As or the DGSD production assignments, each sound designer and assistant sound
designer ormally presents their current production as they are working on it; tools like
PowerPoint and Google Slides can be used. From design, dramaturgy, budgeting, and
a post-mortem analysis o the production, the class dissects and discovers the nuances
o each show at DGSD. All sound design students must read each play. In addition,
sound design students have an opportunity to develop their sound skills on the fly with
in-class creative assignments meant to develop their impromptu skillset. We also include
guest artists (designers, composers, directors, engineers, consultants, and other theater
proessionals) to urther understand the sound design industry at large. Class meets two
hours a week. Jill BC Du Bo, Justin Ellington, Mike Backhaus
DRAM 424a/b, Lighting Field Study In their third year, schedule allowing, students
are permitted to accept observance-ships and/or positions as assistants with proessional
theater productions in New York or at nearby regional theaters. The student participa-
tion/involvement is intended to be sustained, so that the evolution o the design, rom
ocus to public perormances, can be seen.
[DRAM 428b, Auditory Culture How do we listen to the world around us, and how
does that awareness inorm our sound practice? This course is a deep dive into our own
listening practices, tendencies, and habits. Through readings, writing, soundwalks, and
various sonic studies, we reflect on our work and expand our knowledge as designers
and creatives. Open to non-Design and non-Drama students with prior permission o
the instructor; preerence given to theater, music, and art majors. Enrollment limited to
twelve. Two hours a week. Not oered in –]
[DRAM 440b, The World of the Play Oered to students in Projection Design and open
to other students by permission o the instructor. See description under Directing. Not
oered in –]
DRAM 444a/b, Professional Development Limited to graduating design students and
ocused on thesis development as well as the review o student portolios and internet-
based materials or proessional promotion. Proessional materials review and thesis
support are individual, one hour a week by appointment. Wendall K. Harrington and
Shawn Boyle
DRAM 468a/b, Programming in Sound Design The student who desires to pursue a
specialized course o study in the area o Sound Design may elect an independent study.
A proposal might ocus on a guided research project, artistic exploration, or advanced
audio technology. Proposals must be submitted in writing, and program approval must
be obtained prior to enrollment or credit. Subsequent to enrollment, the student must
meet with the project adviser to plan an appropriate course o action and discuss assess-
ment. Credit is awarded based on the project adviser’s recommendation in consulta-
tion with any other assigned advisers/tutors. Regular meetings are scheduled to track
progress. Konrad Kaczmarek
DRAM 489a/b, Costume Seminar See description under Technical Design and
Production.
Directing (M.F.A. and Certificate)
Liz Diamond, Chair
Yura Kondonsky, Associate Chair
The entire aim o the David Geen School o Drama Directing program is the education
o the director as creative artist and collaborative leader. Our goal is to train directors
whose uture work will advance human understanding and compassion through the
infinitely expressive interplay o image, action, and word unique to our art orm. The
Directing program strives to be a space or students to engage together in lively explo-
ration and experimentation; rigorous, generous critique; and shared discovery. Our
graduates go on to play significant roles in communities around the world as directors
o theater, opera, television, and film; as ounders o opera and theater companies; as
artistic directors o theaters and community arts organizations; and as arts educators.
Each year, three directors are admitted to the program on the basis o demonstrated
artistic ability and capacity or collaborative leadership. They bring to the School a wide
range o sensibilities, but share some crucial qualities. They are generators o ideas and
projects. They have lively imaginations, an appetite or hard questions, and a robust
curiosity about, and respect or, the world beyond their own cultural borders. They are
not araid to take risks, and they take responsibility or the philosophical and political
implications o their work. Above all, they have a deep respect or the colleagues with
whom they work and are eager, in coming to Yale, to contribute to a mutually supportive
community o ellow learners.
In course and production work, emphasis is placed on nurturing directorial imagina-
tion: developing every student’s ability to articulate and transorm artistic vision into
theatrical image and embodied action. Equal emphasis is placed on strengthening the
director’s capacity or inclusive leadership. Our core courses are (a) the Directing Practi-
cum, which engages the student in a practical exploration o theatrical composition—the
relationship o orm to content—through studio exercises and projects; (b) the Directing
seminars, which teach practical skills in text analysis, directorial interpretation, and
production preparation, using a broad range o dramatic writing, theory, and produc-
tion histories as course texts; and (c) the Labs, where directors, playwrights, and actors
develop their ability to collaborate creatively through exercises, scene work, and critical
eedback. The Directing program also hosts an annual opera practicum with singers rom
the School o Music, and, through Yale College and the School o Art, provides oppor-
tunities or students to gain an introduction to filmmaking. In addition, we welcome
visiting theater artists to conduct workshops and engage in discussion throughout the
year.
Because the art and cra o directing require an understanding o all the expressive
modes that together embody theater, the Directing curriculum integrates core courses
in acting and design into its programming. Directors also take courses in dramaturgy,
playwriting, and theater management. Additional courses in these and other disciplines
may be taken as electives.
Production work, involving intensive collaboration with ellow students in all School
programs, is central to our training. Throughout their time at the School, directors
Directing (M.F.A. and Certificate)
practice their cra in diverse orums, ranging rom scene work in classrooms to ull
productions in various perormance spaces. Through these opportunities, directors put
theory into practice, developing their ability to respond to a range o artistic, logistical,
and leadership challenges. In the first year o training, directors participate in collab-
oratively created projects in DRAM a, The Theatrical Event, and direct workshop
stagings o new plays by first-year playwrights in the New Play Lab. In the second year,
directors direct a Shakespeare Repertory Project and a new play by a peer playwright.
In the culminating year o training, directors direct a ull production o their own thesis
project and may direct a new play by a peer playwright in the Carlotta Festival. In addi-
tion, directors may be assigned to serve as assistant directors on Yale Repertory Theatre
or School productions.
Directing students and aculty are engaged, in classes and productions, in an ongoing
eort to critically examine—and to re-imagine—the role o the director in the contem-
porary theater and wider culture. We are striving to oster, within ourselves as individual
artists and as a community o collaborative artists, a practice o directing firmly rooted in
anti-racist and anti-oppressive principles.
All directing and assistant directing assignments are made by the chair o the Direct-
ing program (pending approval by the dean). Additional or alternative projects may be
assigned to directors in all years o training, including new works, assistantships, and,
on occasion, casting in School and Yale Rep productions.
Directors are strongly encouraged to direct productions or Yale Cabaret and to partici-
pate in the work o the Cabaret in other capacities. Students considering work at the
Cabaret must seek prior approval by the program chair, with the understanding that
assigned academic and production work will be prioritized.
:
Class o
Year one (2023–2024)
Course Subject
DRAM a The Theatrical Event
DRAM b New Play Lab
DRAM a Authentic Collaboration
DRAM a Acting I
DRAM a/b Foundations o the Art and Cra o Directing
DRAM a Voice I
DRAM a Rehearsal Practicum: Meeting the Play
DRAM b Managing the Production Process
DRAM b Shakespeare Rep Proposal Tutorial
DRAM a/b Directing Practicum
DRAM b Introduction to Shakespeare or the Director
David Gefen School o Drama –
DRAM b Opera Practicum
DRAM a/b Acting Intimacy and Combat or the Stage
DRAM a/b Theater as Cultural Work: Leading with Values
DRAM a Activated Analysis
Electives (subject to approval by chair o Directing)
Assignments as director or School productions
Possible assignment as assistant director at the School or Yale Rep
Year two (2024–2025)
Course Subject
DRAM a The Production Process
DRAM b Introduction to Set Design
DRAM a Directing II: Directorial Approaches to the Plays o Shakespeare
DRAM b Directing II: Directorial Approaches to World Perormance
DRAM b Introduction to Lighting Design
DRAM a Shakespeare Embodied
DRAM a/b Geen School Show Proposal Tutorial
DRAM a/b Directing Practicum
DRAM b The Choreographic Imagination
DRAM b Opera Practicum
DRAM a/b Theater as Cultural Work: Leading with Values
Electives (subject to approval by chair o Directing)
Assignments as director or School productions
Possible assignment as assistant director at the School or Yale Rep
Year three (2025–2026)
Course Subject
DRAM a/b Directing III: Directorial Approaches to New Dramatic Forms
DRAM a/b The Director’s Thesis
DRAM a/b Directing Practicum
DRAM a/b Bridge to the Proession
DRAM a/b Theater as Cultural Work: Leading with Values
Electives (subject to approval by chair o Directing)
Assignments as director or School productions
Class o
Year two (2023–2024)
Course Subject
DRAM a The Production Process
DRAM b Introduction to Set Design
DRAM a Directing II: Directorial Approaches to the Plays o Shakespeare
DRAM b Directing II: Directorial Approaches to World Perormance
DRAM b Introduction to Lighting Design
Directing (M.F.A. and Certificate)
DRAM a Shakespeare Embodied
DRAM a/b Geen School Show Proposal Tutorial
DRAM a/b Directing Practicum
DRAM b The Choreographic Imagination
DRAM b Opera Practicum
DRAM a/b Theater as Cultural Work: Leading with Values
Electives (subject to approval by chair o Directing)
Assignments as director or School productions
Possible assignment as assistant director at the School or Yale Rep
Year three (2024–2025)
Course Subject
DRAM a/b Directing III: Directorial Approaches to New Dramatic Forms
DRAM a/b The Director’s Thesis
DRAM a/b Directing Practicum
DRAM a/b Bridge to the Proession
DRAM a/b Theater as Cultural Work: Leading with Values
Electives (subject to approval by chair o Directing)
Assignments as director or School productions
Class o
Year four (2023–2024)
Course Subject
DRAM a/b Directing III: Directorial Approaches to New Dramatic Forms
DRAM a/b The Director’s Thesis
DRAM a/b Bridge to the Proession
DRAM a/b Theater as Cultural Work: Leading with Values
Electives (subject to approval by chair o Directing)
Assignments as director or School productions
Anti-Racist Theater Practice Requirement
Directing students are required to enroll in DRAM a/b, Theater as Cultural Work:
Leading with Values, in order to ulfill the School’s anti-racist theater practice require-
ment. Combined with the prerequisite workshop, Everyday Justice: Anti-Racism as
Daily Practice, this course oers vital strategies or the lielong development o individual
and communal anti-racist practice.
Theater History Requirement
Directing students are required to successully complete two term-length courses in
theater history in order to ulfill the School’s theater history requirement. This may be
accomplished either by enrolling in DRAM a/b, Survey o Theater and Drama, or, with
David Gefen School o Drama –
prior approval o the Program chair, by enrolling in two other theater history courses
oered at the School or elsewhere within the University.
Elective Requirement
Directors are encouraged to take elective courses as their schedules permit. Courses may
be selected rom other programs within the School, and elsewhere within the University,
subject to approval by the chair o Directing.
DRAM 37a, The Production Process Required o second-year directors. See description
under Playwriting.
DRAM 50a, The Theatrical Event Almost all perormances are composed o three main
elements: artist, audience, and event. What is a theatrical event? What are the artistic
aims o a particular theatrical event and how may an artistic choice aect its reception by
an audience? How does one meet a theatrical event on its own terms? In this three-week
laboratory introduction, students unction as both artists and audience, creating short
pieces in response to prompts rom photography, painting, music, and other media,
and then discussing them. The goal o this course is to teach students how to read a
theatrical event as both creators and audience. Required o actors, directors, dramaturgs,
and playwrights during their first term in residence. Liz Diamond, Catherine Sheehy
DRAM 51b, New Play Lab See description under Playwriting.
DRAM 53a, Authentic Collaboration See description under Acting.
DRAM 103a, Acting I See description under Acting.
DRAM 110a, Foundations of the Art and Cra of Directing The course is designed to
develop directorial skills in rigorous close reading o the text, associative imagining, and
detailed production scoring. Through a series o analytical and creative encounters with
a play, research, individual and group assignments, and scene work, directors develop
methodologies or reading or events and action, thematic ocus, production and per-
ormance style, and personalized theatricality. The course also explores the role o the
director as a leader o the acting ensemble and the director’s practical work with actors on
activating the play’s central dramatic conflict. Plays in the modern realist tradition serve
as texts or these investigations. Yura Kordonsky
DRAM 112b, Introduction to Set Design See description under Design
DRAM 113a, Voice I See description under Acting.
DRAM 120a, Directing IIa: Directorial Approaches to the Plays of Shakespeare This
course continues the development o the director’s analytical, interpretive, and imagina-
tive abilities through an examination o the specific artistic and technical demands o
poetic drama, ocusing on the plays o Shakespeare. Emphasis is placed on the role o
verse in determining action and shaping character and on the art o developing and
articulating a directorial vision that will give new lie to these texts. Throughout the
Directing (M.F.A. and Certificate)
term, seminar discussion centers around scene study, production research, project pre-
sentations, and on-the-eet investigations o the relation o script requirements to acting
processes. Within this course, there is also a practicum o eight sessions with actors (who
are enrolled under DRAM a, Shakespeare Practicum) during which directors and
actors work together in on-the-eet explorations o Shakespeare’s plays. Karin Coonrod
DRAM 120b, Directing IIb: Directorial Approaches to World Performance This course
continues the exploration o directorial approaches to an expansive variety o dramatic
and theatrical orms by inviting students to explore a range o world perormance tradi-
tions. Guided by the instructor, students explore oral traditions, texts, ideas, and an
array o perormance orms. Through the course each artist develops ideas or imagina-
tive adaptations and productions that reflect an understanding o, and respect or, the
cultural context rom which the source material springs. Awoye Timpo
DRAM 124b, Introduction to Lighting Design See description under Design.
DRAM 130a/b, Directing III: Directorial Approaches to New Dramatic Forms A
practical course on directorial approaches to modern and contemporary experimental
drama. Emphasis is placed on the urther development o interpretive skill through close
reading and research, and stylistic orchestration o one’s reading o a play in production.
Plays and landmark productions rom the twentieth century and contemporary avant-
garde are the course texts. Students’ production strategies or these works, as well as or
their current School productions, are presented and discussed in weekly sessions. In the
spring term, the course also examines the work o influential directors o the modern and
contemporary period. Liz Diamond
DRAM 140a/b, The Director’s Thesis The primary project o the final year in directing
is the thesis, a ull production o a major work o classical or contemporary dramatic
literature, or a new or original work, proposed by the student director and approved by
the dean in consultation with the program chair. The written component o the thesis is a
production casebook documenting the student’s preparation, rehearsal, and postproduc-
tion evaluation o the thesis production. The class meets weekly through the closing
o the final thesis production o the year to provide counsel and practical support to
students at each phase o the production process: design, budgeting, rehearsal, technical
rehearsal, and perormance. The course also provides individual and group advisement
on the draing o the production casebook. Susanna Gellert
DRAM 180a, Rehearsal Practicum: Meeting the Play This course ocuses on the
director-actor collaboration in the early stages o rehearsal. In this lab, first-year actors
and directors learn “by doing” how to rigorously analyze the text o the play in order to
discover its dramatic structure, given circumstances, and characters’ objectives, and to
activate the central dramatic conflict o a scene or a play. The course teaches communica-
tion tools and rehearsal strategies that serve to engage the shared creative energies o
all collaborators as they work to articulate, through bold and specific choices, the story
unolding on the page. Taught in conjunction with DRAM a. Yura Kordonsky
David Gefen School o Drama –
DRAM 190a, Shakespeare Practicum This practicum ocuses on the director-actor col-
laboration in rehearsals, specifically on the plays o Shakespeare. In this lab, second-year
actors and directors learn “by doing” how to mine the orm and content o a Shakespear-
ean text. Students work together to unpack given circumstances, character objectives,
and the central dramatic conflicts o scenes and plays, exploring these in on-the-eet
work while negotiating the space, with the goal o strengthening their ability to make
and receive oers and to test and develop production ideas within the rehearsal process.
Taught in conjunction with DRAM a. Karin Coonrod
DRAM 191b, Managing the Production Process See description under Theater
Management.
DRAM 220b, Shakespeare Rep Project Proposal Tutorial Throughout their proes-
sional lives, directors conceive o theatrical projects and use their writerly skill to per-
suade producers and collaborators to join them in bringing these to lie. In this course,
students learn to develop their personal criteria or selecting a particular play (in this case
a play by Shakespeare) and, in concise, lucid, and artistically compelling prose, to make a
case or its production. Over this -week course, students curate a list o plays, read and
discuss them with one another, research production histories, develop early ideas or a
production, and write and revise two production proposals. In draing their proposals,
students are challenged to discover and succinctly describe each play’s events, dramatic
action, and contemporary significance. The work culminates with the submission o two
SRP proposals by each student director to Directing program aculty, the chair, and the
dean. Faculty
DRAM 283a, Shakespeare Embodied See description under Acting.
DRAM 290a/b, Geen School Show Proposal Tutorial The Geen School Show, pro-
duced in the director’s final year, and the director’s accompanying production casebook,
together comprise the Master’s Thesis in Directing. This tutorial course is designed to
provide individual and group coaching to directing students in their penultimate year as
they generate a list o potential thesis projects; workshop potential projects; and write
and revise two compelling production proposals. In the draing and presentation o
these proposals, students are challenged to explicate why these projects are meaningul in
this present cultural moment or the director, or ellow Drama students in training, and
or the public. The course consists o group and individual meetings and involves sub-
stantial independent work on the part o the student director, beginning in the summer
beore the penultimate year. The course culminates in the spring with the presentation
by the student director o two proposals to Directing program aculty, the program chair,
and the dean. Susanna Gellert
DRAM 330a/b, Directing Practicum As the core course o the Directing program, the
Directing Practicum is designed to develop the student director’s artistic and practical
ability to assume the complex o responsibilities required o the proessional director.
Work in the Directing Practicum includes, but is not limited to, scene study, exercises
in composition, adaptations, open rehearsals, practical study o prominent directors,
explorations o non-text-based perormance orms, and the creation o devised work.
Liz Diamond, Yura Kordonsky, Dmitry Krymov, and guests
Directing (M.F.A. and Certificate)
DRAM 350b, The Choreographic Imagination This course develops the theater maker’s
ability to mobilize the expressive power o the entire human body onstage. Students learn
choreographic practices in order to expand the possibilities or what can be imagined,
composed, and communicated in theater. We explore means o generating movement,
activating space, manipulating timing and dynamic, eectively composing individual
and group activity, and juxtaposing movement and language. Practical investigations
in class develop physical instincts and movement literacy. No prior experience with
dance required—merely openness to learning in motion. Open to non-Directing and
non-Drama students with permission o the instructor. Emily Coates
DRAM 360a/b, Bridge to the Profession This course, meeting or ten sessions in
academic year –, prepares directors or entry into a rapidly changing proes-
sional arena. Students identiy the personal and artistic values and aspirations upon
which to develop short- and long-term proessional goals. Visits with artistic leaders,
agents, union and oundation heads, and others are arranged in relation to the student’s
goals. The building o a project to take into the field comprises the major portion o the
course work, with readings and short exercises assigned throughout the course. Lileana
Blain-Cruz
DRAM 380b, Introduction to Shakespeare for the Director This course begins the
directing student’s yearlong exploration o Shakespeare’s work by introducing key
tools o Shakespearean text analysis, including paraphrasing, scansion, and argument.
Students learn to mine the text or given circumstances, character, objectives, and action,
noting the opportunities and limitations o the printed play script. They also develop
vocabularies in actors’ and directors’ processes o engagement with verse drama, to
promote directorial confidence in collaborative interpretation. Assigned reading, writ-
ten exercises, committed table reading and direction, and seminar discussion introduce
students to a range o possibilities or discovering specific, playable dramatic action.
James Bundy
DRAM 390b, Opera Practicum An introductory course in opera direction, oered in
collaboration with singers rom the Yale School o Music’s M.F.A. program in opera.
This laboratory course ocuses on the director/singer dialogue, while exploring opera’s
defining characteristic as an integration o the arts. Examining the structure and style o
a specific opera, the course explores approaches to creating work ulfilling the primary
demands o the music at once aithul to the spirit o the work and vitally alive or a
contemporary audience. Weekly sessions eature practical scene work, research assign-
ments, and open rehearsals. The core text is the repertoire chosen by Yale Opera or its
annual projects. Guest artists rom the field are invited to provide insights and to respond
to the work in class. Dustin Wills
DRAM 403a/b, Acting Intimacy and Combat for the Stage See description under
Acting.
[DRAM 440b, The World of the Play An eight-week course in text analysis or nonma-
jors. Using a small selection o ormally challenging texts by modern and contemporary
experimental playwrights, the course provides students with an approach to reading
plays that considers a play’s textual geography in its totality—its physical appearance on
David Gefen School o Drama –
the page and its use o image, syntax, sound, and silence—to apprehend its nature as
dramatic action, as theater. Oered to students in Projection Design and open to other
students by permission o the instructor. Not oered in –]
DRAM 450a/b, Theater as Cultural Work: Leading with Values Meeting bi-weekly
throughout the academic year, the course engages students and aculty in articulating,
embodying, and promoting anti-racist and anti-oppressive values in all aspects o
directorial practice and theater-making. Through role play, examination o case studies
and theory, and sharing o lived experiences, students and aculty learn to apply cultural
work principles or a just world to their work as theater makers. The goal o this work
is to interrogate and end practices that cause harm within our processes; to build and
strengthen practices or accountability amongst collaborators; and to invest in the uture
by imagining, creating, and implementing systems o care and leadership that do not
perpetuate or promote white supremacy culture. Nissy Aya
DRAM 563a, Activated Analysis II See description under Acting.
Dramaturgy and Dramatic Criticism
(M.F.A. and D.F.A.)
Catherine Sheehy, Chair
Kimberly Jannarone, Associate Chair
The Dramaturgy and Dramatic Criticism program encompasses multiple areas o theater
and perormance, oering intensive training to prepare students in three areas: to work
in theaters as dramaturgs, artistic producers, literary managers, and in related positions;
to work in theater publishing as critics and editors as well as in other capacities; to teach
theater as practitioners, critics, and scholars.
At the core o the training is a curriculum o seminars and practica that emphasize
historical knowledge, conscientious writing, collaboration, and innovative artistic and
academic research. These may be supplemented by courses taught elsewhere in the
University i approved by students’ advisers. The aim is to impart a comprehensive
knowledge o theater and dramatic literature—a knowledge necessary to the dramaturg,
the writer and editor, and the teacher. Regarding the latter, while it cannot be guaranteed,
every eort is made to give qualified students teaching experience within the University.
O particular importance in the program o study are the criticism workshops, which
are taught by various members o the aculty and which students must take in each o six
terms. These courses are designed to improve skills in thinking and writing and are an
essential component in the aculty’s evaluation o students’ progress rom term to term.
Historically, David Geen School o Drama has been a pioneer in this country in
introducing and establishing the dramaturg as an essential presence in the creation o
theater and as a key member o a theater’s sta. Under the supervision o the resident
dramaturg o Yale Repertory Theatre, students are assigned to work on many varied
productions, including those o new scripts by School playwrights, workshops and
ull productions by School directors, and proessional presentations o classical and
contemporary works at Yale Repertory Theatre. Among the areas in which students
participate are text preparation and oversight; translation and adaptation; preproduction
and rehearsal work on issues o design, direction, and perormance; contextual research;
program notes and study guide preparation; the conducting o audience discussions;
participation in programs in educational outreach; and related work in conjunction with
the marketing and media departments. Students also assist in Yale Repertory Theatre’s
literary oce with script evaluation and communication with writers and agents. Thus,
students are trained in topics in institutional dramaturgy, including the ormulation o
artistic policy and its communication and implementation, and as production drama-
turgs, operating within the rehearsal process.
In recognition o the act that dramaturgs may not only assume the leadership o
theaters under such titles as artistic director and producer but may also ound the
-
aters themselves, the Dramaturgy and Dramatic Criticism program has established a
collaboration with the Theater Management program to create an optional course o
study drawing rom the strengths o both disciplines. By creating this interchange, the
School seeks to remain at the oreront in ostering the discovery and exploration o
David Gefen School o Drama –
new organizational models so that the art o theater will continue to flourish. More
inormation on this partnership is available rom the program.
In addition to their training in production dramaturgy and literary management,
students have opportunities to develop as writers, editors, and translators through their
work on the proessional sta o Theater magazine, published three times annually by
David Geen School o Drama/Yale Repertory Theatre and Duke University Press.
Theater has been publishing new writing by and about contemporary theater artists
since . The magazine’s perspectives are dierent rom those o any other American
publication: at once practical, creative, and scholarly. Issues include critical essays; new
plays, translations, and adaptations; orums about policy, politics, and productions;
interviews with writers, directors, and other artists; creative dossiers and polemics;
and book and perormance reviews. The publication maintains an electronic archive, a
website, and social media pages, and it curates symposia and live events on campus and
beyond.
Requirements or the M.F.A. and D.F.A. degrees are discussed more ully in the ol-
lowing pages.
We value curiosity, eective communication, joyul art-making, and respect or sel
and others. Embracing an interdisciplinary, expansive definition o dramaturgy that
combines traditional analysis and critique with care, questioning, generosity, and kind-
ness, we support dynamic collaborations within the program and across the School. We
envision a transormational learning environment and proessional practice based in an
ethics o liberation, honoring the diverse perspectives and abilities in our communities.
Committing ourselves not only to the concepts but also to the active practice o antira-
cism, decoloniality, inclusion, and belonging, we strive to nurture these qualities and
skills in our students as they create the uture o our field.
In the – academic year, students may request a scaled grading option or any
course by September , in the all term and by January , , or the spring
term, but the deault grading option or all courses will be Pass/Fail, with the exception
o Criticism Workshop and the Comprehensive Examinations. The minimum quality
requirement or the M.F.A. degree in Dramaturgy is a grade average o High Pass in
all graded courses counting toward the degree. Students who receive an Incomplete in
any course will be given a notice o academic concern. Any student who receives more
than one Incomplete will be placed on academic warning. Students placed on academic
warning may not participate in any capacity in the Yale Cabaret. All required course
assignments must be completed in order to receive a grade and credit or any course.
Dramaturgy and Dramatic Criticism (M.F.A. and D.F.A.)
:
(
)
Year one
Course Subject
DRAM ()a/b Toward Anti-Racist Theater Practice in Dramaturgy and Dramatic
Criticism
DRAM a/b Survey o Theater and Drama
DRAM a/b Passion Projects
DRAM a The Theatrical Event
DRAM a Authentic Collaboration
DRAM a Models o Dramaturgy: The New Play Process
DRAM b Models o Dramaturgy: The Fixed Text
DRAM a Editing and Publishing Workshop
DRAM a/b Criticism Workshop
DRAM b Theory Suite: Dramatic Structure†
DRAM a Theory Suite: Critical Race Theory†
DRAM a/b Literary Oce Practicum
DRAM a/b Dramaturgy Practicum
DRAM a/b Hot Topics
At least three elective courses aer consultation with adviser†
At least one production dramaturgy assignment
Year two
Course Subject
DRAM ()a/b Toward Anti-Racist Theater Practice in Dramaturgy and Dramatic
Criticism
DRAM a/b Criticism Workshop
DRAM a Translation*
DRAM b Theory Suite: Dramatic & Perormance Theory†
DRAM a/b Literary Oce Practicum
DRAM a/b Dramaturgy Practicum
DRAM b Research Methodologies
DRAM a/b Hot Topics
DRAM b Adaptation
At least three elective courses aer consultation with adviser†
At least one production dramaturgy assignment
Year three
Course Subject
DRAM ()a/b Toward Anti-Racist Theater Practice in Dramaturgy and Dramatic
Criticism
DRAM a/b Criticism Workshop
David Gefen School o Drama –
DRAM a/b Comprehensive Examinations
DRAM a/b Literary Oce Practicum
DRAM a/b Dramaturgy Practicum
DRAM a/b Hot Topics
At least our elective courses aer consultation with adviser
At least one production dramaturgy assignment
*DRAM a,Translation, is not oered every year. When it is oered, all dramaturgs who have not
taken the course are enrolled in it.
†In any year in which students must take one or two seminars in the Theory Suite (DRAM ,
DRAM , DRAM ), the number o electives is reduced by one.
Class o
Year four (2023–2024)
Course Subject
DRAM ()a/b Toward Anti-Racist Theater Practice in Dramaturgy and Dramatic
Criticism
DRAM a Special Research Project
DRAM a/b Literary Oce Practicum
DRAM a/b Dramaturgy Practicum
DRAM a/b Hot Topics
At least one production dramaturgy assignment
Anti-Racist Theater Practice Requirement
Dramaturgy and Dramatic Criticism students are required to enroll in DRAM ()a/b,
Toward an Anti-Racist Theater Practice in Dramaturgy and Dramatic Criticism, in order
to ulfill the School’s anti-racist theater practice requirement. Combined with the prereq-
uisite workshop, Everyday Justice: Anti-Racism as Daily Practice, this course oers vital
strategies or the lielong development o individual and communal anti-racist practice.
Theater History Requirement
Dramaturgy and Dramatic Criticism students are required to enroll in DRAM a/b,
Survey o Theater and Drama, in order to ulfill the School’s theater history requirement.
This course is considered a crucial oundation or all o the program’s students.
Dramaturgical Assignments
Each student serves as a dramaturg on one or more productions per year either at Yale
Repertory Theatre or the School. During the all term o their first eligible year, students
are not typically assigned to production work. In the second term, these students may be
assigned to a play by a playwriting student at the School and may also work on other plays
under the supervision o the resident dramaturg. In their subsequent years, students
Dramaturgy and Dramatic Criticism (M.F.A. and D.F.A.)
may undertake a project at Yale Repertory Theatre, a director’s thesis production (see
Directing program, DRAM a/b, The Director’s Thesis), a Shakespeare Repertory
Project (see Directing program, DRAM a/b, Directing II), or a play by a playwriting
student at the School.
Students work on School productions and Yale Repertory Theatre productions
subject to availability and suitability o projects and program requirements.
Additionally, dramaturgy students assist the resident dramaturg and Yale Rep’s liter-
ary manager in script evaluation and related tasks through the Literary Oce Practicum
(DRAM a/b).
Yale Cabaret
Dramaturgy and Dramatic Criticism students are encouraged to work in all capacities
at the Yale Cabaret, but this participation is understood to be in addition to, and in no
way a substitution or, required program work. No student with an “Incomplete” grade
in any course, and no student on program-imposed academic warning, may participate
in the Yale Cabaret in any capacity. Students must request approval rom the student
labor supervisor and should inorm the program chair beore agreeing to participate in
the Cabaret.
Yale Repertory Theatre Artistic Oce
Students are trained to read scripts or Yale Repertory Theatre, and each academic year,
they are required to submit written evaluations o these scripts to the Artistic Oce.
This work is done under the supervision o Yale Rep’s senior artistic producer and
dramaturgy adviser, who is a lecturer in the program, and the literary ellow, who is a
D.F.A. candidate in the program.
Theater Magazine Requirement
During their first year, Dramaturgy and Dramatic Criticism students take the Editing
and Publishing Workshop (DRAM a), taught by the editor o Theater, the journal
o criticism and perormance co-published by David Geen School o Drama/Yale
Repertory Theatre and Duke University Press, which introduces them to major aspects
o publishing such a journal. In their subsequent years, qualified students may have addi-
tional opportunities to work on the magazine’s sta in a variety o editing and publishing
positions. Selected D.F.A. candidates may be appointed to senior sta positions as part o
their doctoral ellowships. Along with essays, reviews, plays, and translations by leading
authors and proessional critics, Theater has published outstanding work by Dramaturgy
and Dramatic Criticism students, who are encouraged to propose and submit writing
and editorial projects or possible publication.
Language Requirement
The language requirement is satisfied by the translation o a play in the Translation semi-
nar (DRAM a). Students who wish to pursue a special emphasis in translation may
take this course once more with the approval o their advisers and the course instructor.
David Gefen School o Drama –
Library Orientation
Upon entering the program, students are required to take orientation seminars introduc-
ing them to the Yale University Library system and its various acilities and resources.
Comprehensive Examination Requirement
The comprehensives are a set o final written and oral qualiying examinations in which
third-year students demonstrate their ability to bring critical depth and dramaturgical
perspective to broad areas o the field. Through this process students take responsibility
or proficiency in subjects o their own choosing. Oen these subjects have not been
covered in course work.
Each student must write two independently researched exams. For each o these, the
student writes essay-length answers to two questions in the chosen area o study. Topics
or written examinations must be chosen in consultation with the student’s adviser and
reflect breadth o study across time periods, genres, movements, etc. Areas o study
should not overlap and may include major historical periods; important dramatists or
other figures; basic dramatic genres; significant theoretically or critically defined move-
ments. Other broad areas also may be devised in consultation with aculty advisers.
Each student must create one dramaturgical casebook each year based on a production
assignment completed during the student’s first five terms at the School and approved by
the aculty. Casebooks must include the ull and cut scripts, an essay o textual analysis,
a comprehensive production history, a critical bibliography, preproduction and rehearsal
journals, and other pertinent materials generated by work on the production (program
pages, poster design, etc.). Casebooks may be hard copies or in digital orm. Guidelines
or casebooks are available rom the program.
These written components—exams and production casebooks—are ollowed by an
oral comprehensive exam. Oral examinations are designed not only as deenses o the
written exams but may also be a urther exploration o areas students have worked on but
not addressed in their other comprehensives. The production casebooks will provide the
basis or discussion during the oral exam o the student’s development as a dramaturg.
These exams will be completed in May.
Final grades or the comprehensive examinations are determined upon completion o
the entire process. Following each written examination, students will be given a Pass/Fail
evaluation or that exam by their aculty advisers. I the aculty concludes that the exam
is not passing work, the student will be inormed o the areas o deficiency. In such a case
the oral examination becomes an opportunity or the student to redress the deficiencies.
A student who ails one or more comprehensives and/or the oral is allowed to reenroll
in the comprehensive process once more during the ollowing year. A student ailing the
second time is not awarded a degree.
Second-year students must adhere to the following schedule*
January , : Deadline or submission o comprehensive examination topics. At this
time, exam topics must be submitted in memorandum orm via email to all non-
visiting members o the program aculty or approval.
Dramaturgy and Dramatic Criticism (M.F.A. and D.F.A.)
March , : Deadline or submission o a ull comprehensive proposal, including a
careully researched and selected bibliography, or aculty approval. This bibliography
should reflect an understanding o the most essential reading in the proposed subject
and reflect prior consultation with appropriate members o the program’s aculty.
April , : Deadline or submission o final revised comprehensive proposal and
bibliography.
*In – there are no third-year students; a typical calendar or third years’ comprehensive exam
process will be reestablished next year.
Upon completion o the Dramaturgy and Dramatic Criticism program requirements
or an M.F.A. degree and graduation rom the School, a student is eligible to register to
remain in residence or the proposal year to apply to the Doctor o Fine Arts (D.F.A.)
program.* Acceptance into the D.F.A. program is not to be considered an entitlement
and is based not only on the merits o the proposal, but also on the aculty’s assessment o
the student’s perormance and progress in the M.F.A. program. Candidates must submit
their proposals by January , , the first day o the spring term, or review by the
D.F.A. Committee. The proposal must conorm to program guidelines and designate
first and second readers. I either reader comes rom outside the program, the proposal
must include a letter rom the reader acknowledging a willingness to advise the dis-
sertation i the prospectus is approved. It is understood that, except in extraordinary
circumstances, i the student’s proposed dissertation can be read by a member o the
ull-time aculty, that aculty member will be considered the first reader. Upon review,
the committee may approve, reject, or recommend changes to the proposal. I changes
are recommended, the student has until April , , to resubmit the proposal in order
to obtain the committee’s approval. I the proposal has not been suciently revised at
that time, it will be finally rejected.
A student holding an M.F.A. degree rom the School has two years aer graduation
to apply to and be accepted into the D.F.A. program. Upon acceptance o the proposal by
the D.F.A. Committee, the student is expected to complete the dissertation within three
years, working in close consultation with the first reader. I necessary, and so long as the
student is able to demonstrate progress, an extension may be granted upon a written
request. Each year all D.F.A. students registered as “in residence” are expected to attend
an in-person chapter conerence at the School; here they will oer a twenty-minute
presentation about their latest research and writing. These chapter conerences will be
held at the end o both the all and spring terms. In consultation with their advisers,
students may choose at which conerence they would like to present.
Graduating D.F.A. students must adhere to the following schedule
January , : Final deadline or submission o revised dras o all chapters to first
and second readers.
March , : Notification o approval o revised chapter dras and requests or final
corrections.
April , : Final deadline or submission o all ormatted files.
David Gefen School o Drama –
Aer the D.F.A. Committee’s final acceptance o the dissertation, two hard-bound copies
must be delivered to the Dramaturgy and Dramatic Criticism chair two weeks prior to
the date on which the student expects to graduate. The dissertation proposal guidelines
contain complete details and stipulations or obtaining the degree and are available
through the program.
The D.F.A. candidate may elect to register as a ull-time student in residence to pursue
work on the dissertation. The tuition ee or this status is , per year in residence and
entitles candidates to use libraries and related acilities, to audit courses related to their
research, to eligibility or tickets to School and Yale Repertory Theatre productions, and
to Yale Health Basic Coverage. Yale Health Hospitalization/Specialty Coverage is oered
or an additional ee (or –, the ee is , per term). In the first five years o
residency, D.F.A. candidates receive a scholarship to cover tuition and the cost o Yale
Health Hospitalization/Specialty Coverage. (I students decline this insurance coverage,
their scholarship will be reduced by the amount equivalent to its cost.) Students enrolled
in the D.F.A. program are eligible to apply or one o three writing ellowships, a Yale
Rep artistic associate ellowship, a Theater magazine ellowship, or DRAM a/b teaching
assistantships. These ellowships are awarded based on suitability and other actors,
such as additional opportunities or support, pedagogical enrichment, and demand or
history o support in the program. The Theater magazine, artistic associate, and literary
oce ellowships are twelve months long; the rest are or the nine-month academic year
only. As a result, ellowship awards oer diering financial support. More inormation
is available rom the financial aid oce.
*The Dramaturgy and Dramatic Criticism program has instituted DRAM a, Special Research
Project, as a capstone project or students enrolled in the our-year curriculum. Students interested
in pursuing the D.F.A. degree are expected to use their enrollment in this course to complete their pro-
spectus under the mentorship o program advisers. For more inormation on DRAM a, please see
the section below.
DRAM 3(04)a/b, Toward Anti-Racist Theater Practice in Dramaturgy and Dramatic
Criticism This course meets both within individual programs and across disciplines,
with students and aculty members as ellow learners, using readings, viewings, and
discussions in pursuit o these goals: to identiy the roots and branches o racism and
white supremacy in the structures and practices o theater making in the United States,
including at the School and Yale Repertory Theatre; to interrogate where the practices do
harm and hinder; and to invest in the uture by inviting students and aculty to imagine
and upli systems and cultures that do not depend upon or promote supremacy, to build
a more just and equitable field. For the Dramaturgy and Dramatic Criticism program,
this course takes the orm o practical modules that meet throughout the year. Carly
McCollow and aculty
DRAM 6a/b, Survey of Theater and Drama An introduction to the varied histories o
world drama and theater as an art orm, as a proession, as a social event, and as an agent
o cultural definition through the ages. DRAM a examines select theatrical cultures
and perormance practices to . DRAM b examines select theatrical cultures and
Dramaturgy and Dramatic Criticism (M.F.A. and D.F.A.)
perormance practices since . Open to non-Drama students with prior permission
o the instructor. Paul Walsh
DRAM 36a/b, The Passion Projects While dramaturgs and critics are trained to be in
response to works o art—in process or production—it is important that they keep their
acumen and empathy sharp by putting themselves in a generative position, as well. This
yearlong engagement is intended to develop in students the habits o creating, risking,
and evolving as their ideas inevitably change. The course culminates in a showing o
short student pieces or an invited audience that includes program aculty and an outside
responder. Catherine Sheehy, Rebecca Rugg
DRAM 46a, Special Research Project In the our-year curriculum, Dramaturgy and
Dramatic Criticism students in their final year undertake an approved special research
project with a program adviser(s) to expand or deepen their field(s) o interest. The
types o projects in which students engage might include: researching and writing a
prospectus or the D.F.A. program; identiying a suite o courses rom across the Uni-
versity that would comprise a “minor” o sorts to expand areas o expertise or uture
teaching or writing; creating a longorm writing project or publication or submission to
conerences; designing a dramaturgical project or realization with collaborators within
or outside Yale’s auspices; creating a curatorial or interdisciplinary project; designing an
archival project. Class members will present and discuss their project ideas and research
in progress throughout the term. Thomas Sellar and aculty
DRAM 50a, The Theatrical Event See description under Directing.
DRAM 51b, New Play Lab Required o Dramaturgy and Dramatic Criticism students
who are assigned to work on the New Play Lab. See description under Playwriting.
DRAM 53a, Authentic Collaboration See description under Acting.
DRAM 96a, Models of Dramaturgy: The New Play Process In contemporary new play
development and production, dramaturgs play instrumental roles inside and outside o
institutions, in and out o rehearsal rooms. Through lecture, discussion, and practicum,
this course explores how dramaturgical practice is essential to the new play process, the
issues acing dramaturgs in the field, and the strategies dramaturgs can employ to be
eective collaborators. The course eatures a wide range o voices rom the field as we
collectively investigate and define the tenets o anti-racist dramaturgical practice. Amy
Boratko
DRAM 96b, Models of Dramaturgy: The Fixed Text Using a handul o plays with
established production histories as resilient and ruitul objects o study, this course
examines the many acets o working on fixed texts or perormance. How do dramaturgs
reanimate a venerable play or their collaborators and audiences? How can contextual
readings and resh conceptual thinking put older works in conversation with our current
culture? With special attention to the mechanics o genre and the art o close reading,
this course ocuses on these plays as exemplars o broader principles. Students are asked
to render original research or all artistic team members that considers the plays in their
time, their sources, contemporary staging practice, and the newest thinking about them;
David Gefen School o Drama –
to cut texts or both length and production concept; and to create actor packets, program
notes to ocus audience attention and thought, and material or educational outreach to
make the plays accessible to younger playgoers. Open to non-Dramaturgy and Dramatic
Criticism students with permission o the instructor. Catherine Sheehy
DRAM 106a, Editing and Publishing Workshop This course combines an introduc-
tion to general interest theater publications and scholarly publishing with a workshop
ocused on editing Theater magazine, involving best practices in editorial production
and creative proposals or uture issues and new publications. Required o all first-year
Dramaturgy and Dramatic Criticism students. Open to non-Dramaturgy and Dramatic
Criticism students with permission o the instructor. Thomas Sellar
[DRAM 146a, Taking the Temporal Turn into Theater and Performance This course
looks at some o the existing models or thinking about temporality in theater studies. It
also introduces new approaches and sources with which to imagine time in perormance
and theater dierently. The course borrows its title rom the idea o “the temporal turn”;
aoot in other disciplines or some time, joined now by emerging work in our field, it
signals the contemporary and urgent desire to rethink time. Not oered in –]
[DRAM 146b, Contemporary African, Black American, Black British, and Caribbean
Drama and Performance Theater o the Arican diaspora is haunted by the migration,
the movement, and the scattering o an Arican-descended people away rom an ancestral
homeland. Students look at when and where Kwame Kwei-Armah, the Negro Ensemble
Company (New York City), Suzan-Lori Parks, the Sistren Theatre Collective (Kingston),
debbie tucker green, and August Wilson transmit Arica’s cultures, languages, nations,
races, religions, and tribes to Black America, Black Britain, and Caribbean islands. Paul
Gilroy’s theory o the black Atlantic and Joseph R. Roach’s theory o circum-Atlantic
perormance are the methods o literary research igniting case-study-themed sessions.
Open to non-Dramaturgy and Dramatic Criticism students and non-Drama students
with permission o the instructor. Not oered in –]
DRAM 166a/b, Criticism Workshop A workshop in critical writing in which the
student’s work is analyzed and discussed by the class and the instructor. Divided into
sections, this class is required o Dramaturgy and Dramatic Criticism students in each o
their six terms. Open to non-Dramaturgy and Dramatic Criticism students with permis-
sion o the instructor. Eric M. Glover, Katherine Proeta, Marc Robinson, Thomas Sellar,
Kimberly Jannarone
[DRAM 196a, Race and the American Musical from Jerome Kern to Jay Kuo Race as
a biological essence and a social construct has long been a part o the aesthetics and the
politics o the American musical. By drawing parallels between theatrical representations
o Asians and Asian Americans, Blacks, Latinas and Latinos, and whites, students are
able to indicate ways in which distinct writers see and hear racial identity. Students also
listen to audio recordings o Broadway, O-Broadway, regional/tour, and West End
productions and watch film, television, video, and video clips on YouTube. Open to non-
Dramaturgy and Dramatic Criticism students and non-Drama students with permission
o the instructor. Not oered in –]
Dramaturgy and Dramatic Criticism (M.F.A. and D.F.A.)
DRAM 206a/b, Tutorial Study With the exception o students in their first year, drama-
turgs may elect to undertake tutorial independent study by submitting, in consultation
with their proposed tutor, a request stipulating course title, course description, reading
list or syllabus, schedule o meetings with the tutor, and method o grading the tuto-
rial. Approval must be granted by the student’s adviser and by the program. Forms or
application are available rom the registrar o the School. Faculty
[DRAM 216b, Curating Performance In recent years the role o the perormance curator
has expanded along with context-reliant orms such as participatory, site-based, and
documentary theater. This course probes the curator’s unctions in live perormance,
examining new critical discourses around curation, including perspectives rom the
visual arts and how they might apply to dramaturgs and creative programmers o theater,
dance, and perormance. Topics include the role o temporality, institutional critique,
and decolonization in the curatorial imagination. Special emphasis is placed on case
studies, including sessions with visiting curators discussing their practices. Students
devise critical and creative portolios proposing an original curatorial platorm. Open to
non-Dramaturgy and Dramatic Criticism students and non-Drama students with prior
permission o the instructor. Not oered in –]
[DRAM 226a, Contemporary Global Performance How might contemporary theater
and perormance makers be evolving their work in relation to the twenty-first century’s
tectonic shis in politics, aesthetics, and technology? This course considers examples
o major transnational tendencies such as documentary perormance, participatory art,
and social practice, and examines works by selected pioneering artists active around the
world today. Students propose additional or emerging categories and share their critical
knowledge by jointly compiling dossiers o related artists and projects. The seminar
requires viewing o videos in addition to the reading list. Open to non-Dramaturgy
and Dramatic Criticism students and non-Drama students with prior permission o the
instructor. Not oered in –]
DRAM 246a, Translation This seminar explores the process o translation through
practical assignments and culminates in the translation o a ull-length play into English.
Required o first- and second-year dramaturgs, and may be repeated as an elective in the
third year with the permission o the student’s adviser and the course instructor. Open to
non-Dramaturgy and Dramatic Criticism students with permission o the instructor and
Dramaturgy and Dramatic Criticism Chair Catherine Sheehy. Paul Walsh
[DRAM 256a, What’s So Funny: Comic Theory and Practice The ormal and moral
dimensions o comedy have been the subject o constant contemplation and comment
rom its written beginnings in the West to the present day. Satire is a tool o social and
political outrage; new comedy is a paean to social cohesion. How can both be comprised
by the same descriptor? A key to the eective production o a comedy or the authoritative
criticism o any piece o art claiming comic license is understanding the rules o the
genre. This course examines the workings o various comic orms by reading theory rom
the Greeks to the present, with care to include the perspectives o historically overlooked
(and requently caricatured) groups. These readings are in conversation with dramatic
literature, film, and video to test out what is, and whether it is, so unny. Open to
David Gefen School o Drama –
non-Dramaturgy and Dramatic Criticism students and non-Drama students with prior
permission o the instructor. Not oered in –]
[DRAM 276b, Greek Drama This course ocuses primarily on Greek tragedy, consider-
ing the most important plays by Aeschylus, Sophocles, and Euripides, as well as two
comedies by Aristophanes. In addition to studying the plays, we read some modern
critical essays. The emphasis is on locating the dramas in terms o their cultural context
including mythic and epic background, Athenian history, and dramatic conventions. The
course work consists o participation in discussion, several short (two-page) papers, and
one slightly longer paper (five to ten pages) and a class presentation at the end o the
term. Not oered in –]
DRAM 286b, The First Avant-Garde, 1880–1918 European modern perormance
innovations in such movements as naturalism, symbolism, expressionism, uturism,
and dada. Artists covered include directors and producers (Reinhardt, Gémier, Diaghi-
lev); playwrights (Maeterlinck, Wedekind, Mayakovsky); designers (Appia, Craig,
Prampolini); theorists (Zola, Mallarmé, Moréas); and perormers in non-text-based
modes (Hennings, Efimova, von Freytag-Loringhoven). Artists are examined in their
social, political, and philosophical backgrounds. An emphasis on historiography shapes
the course’s approach: what types o artists do and do not occupy places in the canon
o experimentation? Open to non-Dramaturgy and Dramatic Criticism students and
non-Drama students with permission o the instructor. Kimberly Jannarone
[DRAM 286b, The Second Avant-Garde, 1918–1939 Perormance innovations, largely
European, with an emphasis on artists seeking new modes o expression. This course
is a sequel to DRAM a, but one is not required to take the other. Artists and artistic
movements covered include post-WWI Surrealism, dada, Futurism, Brecht, Artaud,
and Witkiewicz. We discuss direction, design, choreography, and theory along with the
works’ historical, political, and cultural background. Historiographical questions rame
the subject matter, including issues o archive and repertoire, influence and appropria-
tion, and collaborative and individual creation. Open to non-Dramaturgy and Dramatic
Criticism students and non-Drama students with permission o the instructor. Not
oered in –]
[DRAM 296b, The Third Avant-Garde, 1938–1959 This seminar examines modern
perormance innovations in the immediate aermath o World War II through the
work o directors, playwrights, designers, theorists, and perormers. The materials
ocus attention on new ways o making, or unmaking, meaning through perormance
and language. Artists studied may include Beckett, Gombrowicz, Carrington, Césaire,
Genet, Mishima, and Hijikata. While studying the movements that shaped modern
perormance, we engage with the historiography o the avant-garde, considering ideol-
ogy, politics, and the ephemerality o live art. Students write about as well as creatively
engage with the works. Open to non-Dramaturgy and Dramatic Criticism students and
non-Drama students with permission o the instructor. (The course is the third in the
avant-garde sequence, but DRAM a and b are not prerequisites.) Not oered in
–]
Dramaturgy and Dramatic Criticism (M.F.A. and D.F.A.)
[DRAM 306a/b, Theory Suite: Dramatic Structure In this seminar o the Theory Suite,
students consider models o dramatic structure drawn rom theoretical and dramatic
literature, primarily, but not exclusively, in the Euro-American tradition. Contrasts with
structures in other media (film/TV, literature, perormance art) are also explored. Open
to non-Dramaturgy and Dramatic Criticism students with permission o the instructor.
Not oered in –]
DRAM 316a, Theory Suite: Critical Race Theory In this perormance theory seminar,
students bring relevant radical political philosophy on race and racism to bear on the field
o theater and perormance studies. Open to non-Dramaturgy and Dramatic Criticism
students with permission o the instructors. Chantal Rodriguez, Catherine Sheehy
DRAM 326b, Theory Suite: Theater and Performance In this third in a suite o three
perormance theory seminars, students first survey theoretical writing about the roles
and purposes o the theater rom antiquity to the present day and finish by looking
at contemporary cultural theory with potential relevance or new work. Open to
non-Dramaturgy and Dramatic Criticism students with permission o the instructor.
Katherine Proeta
DRAM 336a/b, Comprehensive Examinations Students submit comprehensive pro-
posals to their advisers and other designated aculty members who help them to ocus
their areas o concentration and prepare bibliographies. In this way, the aculty oversees
the course o study or the comprehensives. The evaluation in this course comprises
the entirety o the process, including written and oral components. This tutorial is an
essential part o the procedure leading to an M.F.A. degree. Catherine Sheehy and aculty
DRAM 346a/b, Literary Oce Practicum Among the most important responsibilities
o an institutional dramaturg is the evaluation o new writing. The dramaturg’s ability to
analyze and assess the potential o unproduced work is crucial to a theater’s vitality. In the
Literary Oce Practicum, students in all years read work submitted or Yale Repertory
Theatre and write reader’s reports articulating the scripts’ strengths and weaknesses.
These reader’s reports provide the basis or the Literary Oce’s communication with
playwrights. Amy Boratko, Catherine Sheehy
[DRAM 366b, Modern American Drama A seminar on American drama rom World
War I to . Among the playwrights to be considered are O’Neill, Stein, Cummings,
Odets, Wilder, Bonner, Hurston, Williams, Bowles, Miller, and Hansberry. Open to
non-Dramaturgy and Dramatic Criticism students and non-Drama students with per-
mission o the instructor. Not oered in –]
[DRAM 376a, Ibsen and the Invention of Modern Drama A close reading o six or so
plays by Henrik Ibsen and their contribution to European theatrical practice at the end
o the nineteenth century. Open to non-Dramaturgy and Dramatic Criticism students
and non-Drama students with permission o the instructor. Not oered in –]
[DRAM 386b/AMST 681b/ENGL 931b, American Drama to 1914 Topics include
the European inheritance, theater and nation building, melodrama and the rise o
realism, popular and nonliterary orms. Readings in Tyler, Dunlap, Aiken, Boucicault,
David Gefen School o Drama –
Daly, Herne, Belasco, and others. Open to non-Dramaturgy and Dramatic Criticism
students and non-Drama students with prior permission o the instructor. Not oered
in –]
DRAM 396a/b, Dramaturgy Practicum This course consists o discussion among the
program aculty and students about just-completed and current projects. The purpose
is an exchange o practical and philosophical thoughts and inormation about issues,
problems, and procedures encountered in the field. The course is required o all M.F.A.
Dramaturgy students. Amy Boratko, Eric M. Glover, Catherine Sheehy, and aculty
[DRAM 406b/FILM 804b/MUSI 837b, Opera, Media, Technologies Opera has been
assigned—and continues to assume—important roles in genealogies o technical media.
This seminar explores both what media archaeology and other recent approaches in
media studies and science and technology studies hold or an understanding o the nature
o opera, and what opera might in turn contribute to a historically expanded perspective
on electronic and digital multimedia. Understanding opera as a technical medium will
also help address the latest operatic transormations in the digital age. Topics include
theoretical discourses on eventness and mediation, strategies o audiovisual immersion,
the development o illusionist stage devices, the unction o screens, the orchestra as
technology, and Wagner’s ideal o the Gesamtkunstwerk, as well as examinations o the
medial configurations in various operatic renditions, rom the Baroque picture-rame
stage to HD broadcasts, rom Florentine intermedi to site-specific experiments, rom
Bayreuth to Zoom opera. Reading knowledge o Western musical notation is helpul
but not required o students rom outside the Department o Music. Not oered in
–]
[DRAM 456a/GMAN 680a/MUSI 847a, Wagner In and On Production An explora-
tion o Wagner’s ideas o the Gesamtkunstwerk and their role in the theory and history o
opera since the mid-nineteenth century. The seminar contextualizes Wagner’s theories o
staging and his attempts at creating a lasting, “correct” production within contemporary
theatrical practices and discusses consequences or both historical and modern stagings,
with a special ocus on Tannhäuser, the Ring cycle, and (possibly) Parsial. We broach
such methodological issues as theories and analyses o perormance, multimedia, and the
operatic work; approaches to and reconstructions o historical stagings; and the increas-
ing mediatization o opera. Ultimately, the seminar seeks to understand opera more
broadly in its liminal state between fixity and ephemerality. Open to non-Dramaturgy
and Dramatic Criticism students. Not oered in –]
DRAM 466b, Research Methodologies This is a practice-based seminar o research
methods relevant to scholarly projects in theater and perormance. Students learn to use
library resources, online databases, and other creative sources o inormation. Students
develop skills or craing annotated bibliographies, literature reviews, research propos-
als, interviews, and conerence presentations while learning to identiy their own skills
and interests as researchers. The course draws rom the students’ own scholarly interests
and ongoing projects as the basis or the research. Required o all second-year students.
Kimberly Jannarone
Dramaturgy and Dramatic Criticism (M.F.A. and D.F.A.)
DRAM 476a/b, Hot Topics A lecture series inaugurated by the Dramaturgy and
Dramatic Criticism program to make students aware o current discussions in theater
and perormance studies that lie outside the program’s core curriculum. Attendance
at this yearlong series is required o all M.F.A. dramaturgs. The lectures in this series
may be attended by any member o the Yale community. But non-Drama students may
only enroll academically on a yearlong, Pass/Fail basis and only with permission o the
instructors. Each lecture is accompanied by a short bibliography chosen by the lecturer
and circulated in advance o the meeting through Canvas. Catherine Sheehy, Kimberly
Jannarone, Katherine Proeta
[DRAM 496b/AMST 681b/ENGL 953b, The American Avant-Garde Topics include
the Living Theater, Happenings, Cunningham/Cage, Open Theater, Judson Dance
Theater, Grand Union, Bread and Puppet Theater, Free Southern Theater, Perormance
Group, Ontological-Hysteric Theater, Meredith Monk, Robert Wilson, Mabou Mines,
and the Wooster Group. Open to non-Dramaturgy and Dramatic Criticism students and
non-Drama students with prior permission o both the instructor and Dramaturgy and
Dramatic Criticism chair Catherine Sheehy. Not oered in –]
DRAM 506a, Mass Performance This course looks at exemplary instances o mass
perormance—moments in which a society or government orchestrates thousands o
people to perorm the same actions at the same time. Perormances examined include
the estivals o the French Revolution, European gymnastic displays, North Korean
mass gymnastic and artistic perormances, and contemporary virtual mass phenomena.
The course examines psychological impulses toward mass movement, social ideals o
community ormations, and political upheavals. Critical literature includes works by
Elias Canetti, Gustave Le Bon, Michel Foucault, Cliord Geertz, and Émile Durkheim.
Open to non-Dramaturgy and Dramatic Criticism students and non-Drama students
with permission o the instructor. Kimberly Jannarone
[DRAM 516b, Re-designing Women The seminar examines ancient and classical dra-
matic representations o emale characters and their aerlives in modern and contempo-
rary perormance. Figures and texts to be studied may include Medea and Clytemnestra;
the medieval abbess Hroswitha o Gandersheim; ancient iconic emale figures including
Penelope, the Sirens, and Eve; the women o the Italian Renaissance commedia dell’arte
and their aerlives in Molière; Shakespeare’s The Taming o the Shrew; and contemporary
plays by Sarah Kane, Caryl Churchill, and Sarah Ruhl. The seminar uses emale dramatic
figures as a rubric or thinking about dramaturgy, directing, translation, and adaptation.
Open to non-Dramaturgy and Dramatic Criticism students and non-Drama students
with permission o the instructor. Not oered in –]
[DRAM 526b/AMST 772b/THST 438b, Performance and/in the Archive This seminar
considers how perormance addresses history, and how history shapes perormance.
Topics include the archive and the repertoire; collective memory and trauma; documen-
tary; fictive historiography; and queer and eminist approaches to time and temporality.
Consideration is also given to the role o digital technologies in transorming how we
access, interpret, and remix the past. Attention is paid to the genres o history writing
and to the ethics and aesthetics o reconstructing, reinterpreting, and reenacting the past.
David Gefen School o Drama –
Enrollment limited; permission o both the instructor and Dramaturgy and Dramatic
Criticism chair Catherine Sheehy required. Not oered in –]
[DRAM 556b, Latinx Theater What constitutes Latinx theater? What are its histori-
cal, cultural, aesthetic, and political genealogies? This course explores the trajectory o
Latinx theater and perormance in the United States, rom the s to the present
by examining the relationship between Latinx theater and social justice movements o
the s and ’s; Latinx playwright development programs in the s and ’s;
and contemporary initiatives such as the Sol Project and the Latinx Theatre Commons.
Through close readings o plays and perormances, along with accompanying theory
and criticism, we celebrate, analyze, and critique the works o Luis Valdez, María Irene
Fornés, Cherríe Moraga, Josefina Báez, Caridad Svich, Kristoer Díaz, Quiara Alegría
Hudes, Lin-Manuel Miranda, Guadalís Del Carmen, Cándido Tirado, Brian Quijada,
Karen Zacarías, Isaac Gomez, and Christina Quintana, among others. Open to non-
Dramaturgy and Dramatic Criticism students and non-Drama students with permission
o the instructor. Not oered in –]
DRAM 566a, Dance and Movement Performance, 1900–Present An exploration o the
history and theory o dance and movement perormances since , with an emphasis
on American concert-dance contexts since , though discussion o non-concert con-
texts is a key part o our term’s work. This seminar combines extensive video viewing,
whenever possible, with primary source readings rom choreographers and critics and
recent dance studies scholarship. The term concludes with a consideration o the practice
o contemporary dance dramaturgy. Open to non-Dramaturgy and Dramatic Criticism
students and non-Drama students with permission o the instructor. Katherine Proeta
DRAM 576b/ENGL 933b, Realism A study o European and American dramatic realism,
rom its beginnings in the s through its radical revision in the twenty-first century.
Works by Ibsen, Zola, Tolstoy, Chekhov, Hauptmann, Belasco, and Shaw, as well as by
María Irene Fornés, Franz Xaver Kroetz, Jackie Sibblies Drury, Richard Maxwell, David
Levine, and other contemporary figures. Readings in pertinent theory and criticism;
discussion o nineteenth- and twentieth-century staging practices; and, when possible,
video viewings o important recent productions. Open to non-Dramaturgy and Dra-
matic Criticism students and non-Drama students with permission o the instructor.
Marc Robinson
[DRAM 586b, How French Is It? Pierre Pathelin to Cyrano de Bergerac A gallop
through the pre-twentieth-century French canon, covering the classical troika Corneille,
Racine, and Molière, as well as orays into Marivaux, melodrama, théâtre de la oire, the
Romantics, la pièce bien aite, and Naturalism. Three plays a week and a critical document.
Open to non-Dramaturgy and Dramatic Criticism students and non-Drama students
with permission o the instructor. Not oered in –]
[DRAM 596a, History and Theory of Performer Training Behind every hour o live
public perormance are hidden hours and hours spent in schools and rehearsal rooms,
establishing well-worn patterns o use or body/mind and determining highly variable
standards or what will be considered desirable, undesirable, and exceptional in peror-
mance. In this seminar we historicize dierent modes o perormer training, seeking to
Dramaturgy and Dramatic Criticism (M.F.A. and D.F.A.)
understand where they come rom and what assumptions they are built on. We read
contemporary theorizations o perormer training (or, where they don’t exist, devise
them ourselves). The immediate practical result is a better understanding o the working
methods o many o the perormers we collaborate with; the larger results include a more
complete historical understanding o perormer training and a philosophical apprecia-
tion o what exactly it means to perorm. Open to non-Dramaturgy and Dramatic Criti-
cism students and non-Drama students with permission o the instructor. Not oered
in –]
[DRAM 606b, Theater and Social Change “The theater itsel is not revolutionary: it
is a rehearsal or the revolution.”—Augusto Boal, Theatre o the Oppressed. This semi-
nar examines historical and contemporary theatrical responses to social justice issues
including: labor rights, disability rights, incarceration, state-sanctioned violence, racism,
sexism, immigrant rights, LGBTQ+ rights, health care, and the global climate crisis. To
what extent do these responses result in tangible social change? How do we measure a
production’s or artist’s influence on shiing social thought and public policy? Together
we investigate the ecacy and limitations o theater as a means o tangible social change.
Course work includes close readings o plays, history, theory, and criticism, and video
viewings o productions and/or films. Open to non-Dramaturgy and Dramatic Criti-
cism students and non-Drama students with permission o the instructor. Not oered
in –]
DRAM 616b, Adaptation How do myths, legends, photographs, novels, short stories,
poems, paintings, true stories, and graphic novels operate? Why do they aect us the
way they do? Why are some adapted more successully than others? To musicalize or
not to musicalize? This seminar explores the process o adapting source material or
the stage, augmented by practical assignments and culminating in an adaptation based
on material o each student’s choosing. Required o second-year dramaturgs. Open to
non-Dramaturgy and Dramatic Criticism students with permission o the instructor and
Dramaturgy and Dramatic Criticism Chair Catherine Sheehy. Jill Rachel Morris
[DRAM 626b, Topics in Casting Choosing which actor plays each part is as much about
the limits o everyday lie as it is about the possibilities o live perormance. By looking
at primary texts in contexts and topics that include Asian American Perormers Action
Coalition, blackace minstrelsy versus black-on-black minstrelsy, Audra McDonald,
Arthur Miller’s Death o a Salesman, #oscarssowhite, and yellowace, students are able
to indicate ways in which the show-business fiction o “the best actor or the role” is
exacerbated by the reality that the entertainment industry has never been equitable.
Students also propose measures that may be taken across ability, class, gender, race, sex,
and sexuality to overturn material conditions that uphold representational invisibility.
Open to non-Dramaturgy and Dramatic Criticism students and non-Drama students
with permission o the instructor. Not oered in –]
[DRAM 646b/AFAM 612b/ENGL 958b, James Baldwin, On Stage Using Baldwin’s
years in the theater as a timeline, we read Black and queer playwrights who came out o
the postwar naturalistic tradition that the author upheld in his scripts, while moving on
to various traditions—the Black Arts Movement, Queer Theater, Black Surrealism, and
David Gefen School o Drama –
so on—that Baldwin did not embrace but that served to enrich the scene. In addition to
reading Baldwin’s essays and published thoughts about the theater and film, we analyze
his plays, including his unpublished stage adaptation o his novel Giovanni’s Room.
Also subject to discussion are his brilliant contemporaries, whom we read or context,
including Langston Hughes, Tennessee Williams, Lorraine Hansberry, Alice Childress,
Ed Bullins, Adrienne Kennedy, Derek Walcott, Wole Soyinka, Charles Gordone, Hani
Kureishi, Caryl Phillips, Ntozake Shange. The class concludes with plays written by
Baldwin’s ormer student Suzan-Lori Parks. Open to non-Dramaturgy and Dramatic
Criticism students with permission o the instructor. Not oered in –]
[DRAM 656a, Theater Re-Visioning History “Memory cannot be flattened. Memory
is history singing in tune with the stars, and no sheri’s baton can reach that high.”—
Manazar in Chavez Ravine by Culture Clash. This seminar considers plays and peror-
mances that re-vision history as they reconstruct, reinterpret, and reembody the past.
Focus is given to artists, companies, and movements rom across the Americas that
mobilize theatrical strategies to counter dominant narratives and resist the erasure o
lived experience rom the historical record. Through analysis o archival records, theatri-
cal orms, and aesthetics, this course interrogates the complex relationships between
perormance, memory, history, and identity. Course work includes close readings o
plays, history, theory, and criticism, and viewings o productions and/or films. Open
to non-Dramaturgy and Dramatic Criticism students and non-Drama students with
permission o the instructor. Not oered in –]
[DRAM 666b/AMST 790b/ENGL 964b, American Performance in the 1970s An
exploration o ormally innovative and thematically transgressive art rom an uncertain
decade. The s are distinguished by their intermediacy, positioned between the orce-
ul dissension o the s and the cool detachment o the s and beyond. In its latter
hal, the decade’s transitional identity is especially pronounced, as the culture reormed
itsel in the aermath o the Vietnam War, the Watergate scandal, and the economic
crisis in New York and elsewhere. We consider how these shiing energies aected
perormance, with consideration o drama (María Irene Fornés, Adrienne Kennedy, Sam
Shepard, Ntozake Shange, David Mamet), theater (Robert Wilson, Elizabeth LeCompte,
Lee Breuer, Richard Foreman, Meredith Monk), dance (Lucinda Childs, Grand Union,
Merce Cunningham), and perormance art and other orms (Adrian Piper, Joan Jonas,
Ana Mendieta, Chris Burden, Vito Acconci). Open to non-Dramaturgy and Dramatic
Criticism students with permission o the instructor. Not oered in –]
[DRAM 686b, Black Women Playwrights Works o drama by historical Black women
playwrights in the modern and postwar eras are read in parallel with Black eminism
and queer theory. From Pauline Elizabeth Hopkins’s post-Reconstruction drama and
perormance to Ntozake Shange’s Black Arts poetics and poetry, students note what
is similar and dierent about representative Black women’s dramatic composition and
theatrical representation. Attention is also paid to Black women’s history o ideas, such
as the culture o dissemblance, intersectionality, the politics o respectability, and sae
spaces. Open to non-Dramaturgy and Dramatic Criticism students and non-Drama
students with permission o the instructor. Not oered in –]
Dramaturgy and Dramatic Criticism (M.F.A. and D.F.A.)
[DRAM 696b/ENGL 956b, Modern European Drama The major European play-
wrights active rom (the premiere o Ibsen’s Doll’s House) to (the death o
Beckett) were responsible or theatrical advances o continuing influence and impor
-
tance. This seminar traces the advent o dramatic naturalism and realism (early Ibsen
and Strindberg, the major plays o Chekhov); the contrary movement toward symbolist
subtlety and expressionist urgency (late Strindberg and Ibsen, early Brecht); the eort
to shoulder the burden o history and engage contemporary politics (Shaw, middle-
and late-period Brecht); and the opening o drama to the ambiguities o religion and
philosophy (Beckett). The seminar is grounded in close readings o representative plays
but also considers how dramas change under the pressures o perormance. Readings in
theater theory, maniestos, and criticism supplement the primary texts. Open to non-
Dramaturgy and Dramatic Criticism students with permission o the instructor. Not
oered in –]
DRAM 706b, Black Theater History in the Making at David Geen School of Drama
Early dramatic works by early M.F.A. student playwrights who were enrolled at the
School. Students learn the history o Black theater at the School, rom when John M.
Ross enters in as the first Black student in the then-department to when Lloyd G.
Richards exits in as the first Black dean o the now-school. Subjects or study may
include Fannin S. Belcher, Jr., Anne M. Cooke, Dixwell Players (New Haven), Owen
Dodson, Shirley Graham Du Bois, and FOLKS. Open to non-Dramaturgy and Dramatic
Criticism students and non-Drama students with permission o the instructor. Eric M.
Glover
[DRAM 716a, Theorizing the Oceanic for Theater and Performance This class
explores the possibilities o the oceanic as an emergent theater and perormance practice,
dramaturgy, and politics. Paul Gilroy (o The Black Atlantic) has recently made a pas-
sionate argument or “sea-level theory.” We practice this through adopting a “watery”
perspective beginning with a historical and theoretical look at white Enlightenment and
modernity’s instrumentalization o the ocean. This includes the imperial and colonial
ocean-dependent production o what Sylvia Wynter calls genres o the human and the
ocean o the slave trade. By contrast, we turn to the oceanic: made in the hold, in the
Atlantic revolutions, in the oceanic in Melville and the oceanic sublime and gothic, in
the oceanic in archipelagic and decontinentalizing thought, in environmental thought
and more. Our “planetary” orientations flow through the Oceania, the Caribbean, the
Mediterranean, and the Atlantic. Readings include Wynter, Christina Sharpe, Édouard
Glissant, Kamau Brathwaite, Sarah Jane Cervenak, Fred Moten and Steano Harney,
Paul Gilroy, Tiany Lethabo King, Elizabeth M. DeLoughrey, and others. Theory is
combined with plays and contemporary perormance examples including, or instance,
Shakespeare, Ibsen, Derek Walcott, Naomi Wallace, Amiri Baraka, August Wilson,
Robert Lowell, Lina Issa, and others. Open to non-Dramaturgy and Dramatic Criticism
students and non-Drama students with permission o the instructor. Not oered in
–]
[DRAM 726a/THST 411, Special Topics in Performance Studies: Presence This
course accompanies the themed speaker series or the Perormance Studies Working
Group, a weekly meeting convened by aculty in Theater and Perormance Studies and
David Gefen School o Drama –
the School’s Dramaturgy and Dramatic Criticism program. It eatures thematic research
presentations by perormance studies scholars and practitioners rom Yale and surround-
ing regions. Students enrolled or credit complete weekly readings based on that week’s
scholarship, as well as weekly written responses and a final paper o which they present
a portion at the final meetings o the PSWG. Open to non-Dramaturgy and Dramatic
Criticism students with permission o the instructor. Not oered in –]
[DRAM 736b, Greek Tragedy and the Modern Imagination This seminar examines
selected ancient tragedies by Aeschylus, Sophocles, and Euripides and their reimagining
or the modern stage by such playwrights as Jean Cocteau, Jean Giraudoux, Virgilio
Piñera, Jean-Paul Sartre, Jean Anouilh, Bertolt Brecht, Countee Cullen, Ola Rotimi,
Adrienne Kennedy, Wole Soyinka, Heiner Müller, Caryl Churchill, Marina Carr, Femi
Osofisan, Yerandy Fleites Pérez, Mickaël de Oliveira, Luis Alaro, and Slavoj Žižek.
Course work or this reading-intensive seminar includes seminar presentations, written
assignments, and ocused discussion based on the close reading and analysis o plays, as
well as modern assessments and commentary rom scholars, theorists, and practitioners.
Open to non-Dramaturgy and Dramatic Criticism students and non-Drama students
with permission o the instructor. Not oered in –]
[DRAM 746b, Dramaturgy and… Dramaturgy is a capacious specialization; it is also an
embodied practice. This praxis course provides a laboratory or practitioners to explore
connections between dramaturgy and several practices in the wider world, such as jazz
aesthetics, improvisation, abolition, social justice, poetry, speculative fiction, and healing
arts. We explore how these ideas and methodologies might illuminate and transorm
our dramaturgy practice. Open to non-Dramaturgy and Dramatic Criticism students
and non-Drama students with permission o the instructor. Not oered in –]
[DRAM 756b, “What is it you do again?” or Professional Directions for Dramaturgs
How will you keep rom acing that question every day o your career? Speaking o
that career: do you truly know how many proessional options you have? Exactly what
should you consider when you plan your career beyond drama school? Let’s explore your
options—knowing what they are and understanding how to take advantage o them.
Consider the first rule o proessional longevity: “Know thysel.” Be honest. Do you
really want to hold “final cut”? Do you know what it means, truly, to have the final say?
Because, more oen than not, it’s someone with a dramaturg’s skills—not a writer or a
director—who wields the actual final word. Or would you be more comortable in the
role o researcher, the brilliant mind shaping the overall collaboration and acilitating
the knowledge necessary or a creative team’s success? Or do you love contracts and
negotiations—determining the specific nuanced structure which will make a creative
endeavor possible? Are you the indispensable bridge between the creative process and
the interests o the business entity financing the show? Where are you comortable,
personally and proessionally? What skills would an ideal proessional partner possess?
Once you know yoursel, your work, and your proessional options, no one will wonder
what you do ever again. Not oered in –]
[DRAM 766a, Reading Modern Drama This seminar reads illustrative texts o dramatic
literature rom the Anglo-European world in, roughly, the twentieth century and the two
Dramaturgy and Dramatic Criticism (M.F.A. and D.F.A.)
adjacent “turns o the century.” We read with an eye toward discovering the unique ways
authors adjusted theatrical orm, content, and event to new conditions o modernity. Our
specific ocus is close-reading plays, looking at how playwrights create worlds through
devices such as plot, characterization, imagery, etc., as well as through the conception
o the audience/perormer relationship; considerations o time, tempo, musicality;
visual dramaturgy; non-linearity and repetition; coding and transcribing; and other
dramaturgical devices that took on unique importance and new orms in the modern
era. We read one play a week, establishing its historical context and examining dierent
approaches o playwriting and world-making. Authors may include Frank Wedekind,
Sophie Treadwell, Aimé Césaire, Witold Gombrowicz, María Irene Fornés, Luis Valdez,
and others. Open to non-Dramaturgy and Dramatic Criticism students and to non-
Drama students with permission o the instructor. Not oered in –]
[DRAM 776b, Dance Dramaturgy Students enter the contemporary conversation on
the particular nature and characteristics o dramaturgy in dance, rom to the pres-
ent day and consider selected case studies. This course oers both a toolbox or dance
dramaturgy practice and a consideration o how the field illuminates the potential o
dramaturgy in general. Open to non-Dramaturgy and Dramatic Criticism students and
non-Drama students with permission o the instructor. Not oered in –]
[DRAM 786b, Oending the Audience Although theater companies have, historically,
always required generally pleased audiences in order to survive—being dependent on
audiences as protectors, patrons, ticket-buyers, or simply as members o the social
community—the history o oending that audience is long and varied. This seminar
examines a select variety o indecencies, shocks, insults, outrages, provocations, and
a ew daring risks that le—or sometimes only sought to leave—spectators aronted,
disoriented, dissatisfied, or angry with the theatrical perormance. We ocus primarily on
the last century, including Jackie Sibblies Drury’s Fairview and the work o Young Jean
Lee, but we connect this to a tradition beginning in the early modern era, with players
being booed and authors being vilified or breaking traditional Alexandrine verse phras-
ing (Racine), or engaging in sprawling dramaturgy (Hugo), and depicting a woman
leaving her husband’s house (Ibsen, whose play was called “a dirty deed done publicly”).
In between, authors including Oscar Wilde, Alred Jarry, and Peter Handke put mate-
rial on the page and stage that provoked audiences to pitches o ury that tell us much
about social values, artistic expression, and the unique relationship o live perormers
to their audiences. Open to non-Dramaturgy and Dramatic Criticism students and to
non-Drama students with permission o the instructor. Not oered in –]
Students may elect to take appropriate graduate courses in other schools and depart-
ments at Yale, subject to permission o the instructor, scheduling limitations, and the
approval o the aculty adviser.
Playwriting (M.F.A. and Certificate)
Anne Erbe, Cochair
Marcus Gardley, Cochair
David Geen School o Drama’s Playwriting program seeks to engage artists who possess
a singular voice and who can, with their command o language, set orth imaginative
circumstances that entice audiences and challenge current orms. We are interested in
students who are eager to learn and grow within a community o ellow artists and orm
lielong artistic bonds.
As one o the oldest playwriting programs in the country, made up o practitioners
and lie-long learners, it is crucial that we identiy the roots o racism in our structures
and in our practices, interrogate our current models, and invest in a uture led by
students and instructors imagining systems/culture that do not lean on, celebrate, or
uphold supremacy.
We begin those practices by asking three important questions:
Why are you writing? Playwrights must accept the heavy, sometimes lonely, task o
bringing their intimate voice to the page. Now called to practice, students are asked to
dig deeper into their imaginative responses and orge specific theatrical visions that urge
staging. The aim o the program is to engage with students’ instincts and oer methods
and means to keep exploration deep, personal, and sustainable while giving them room
to innovate and to find ways toward practice unoreseen yet necessary or the creation
o their work.
With whom are you making art? New work is at the center o the School, and students
in the playwriting program are asked to keep a sharp and generous eye on what collabo-
rators are bringing to bear. Playwrights learn the time-honored practice o collaboration
and begin to find new ways o collective creation that evolve orms and strategies o
theater making.
To whom are you writing? How is theater made with rather than or audiences and
communities? The playwright is asked important questions about connection to audi-
ence and community: What portion o humanity are you illuminating or examining,
and whom are you inviting to witness, examine, with you? The School and by deault
the Playwriting program seek to embrace the widest and most invigorating orms o
live storytelling; how then do we also embrace the widest and most engaged audience?
The Playwriting program believes that Yale Cabaret is an essential part o lie and practice
at David Geen School o Drama and encourages all its students to participate in the
Cabaret—not only as writers, but also as theater artists wearing a variety o hats. Play-
wrights must also balance that participation with the demands o their writing schedules
and assigned rehearsals.
:
The required sequence o courses is detailed below. Each term, a student is required to
take at least one writing course and/or anchor class. More than one writing workshop/
course may be taken. In addition, throughout the year, the Playwriting program hosts
guest classes and workshops with visiting artists.
Students are encouraged to take electives as audits beyond their required credit
courses. Electives may also be selected rom other School programs or rom Yale College
with the approval o the chairs. The program recommends playwriting students enroll
in at least one course in Directing, Design, Theater Management, and Dramaturgy
and Dramatic Criticism during their three years at the School. Among the electives or
consideration are DRAM a, Lyric Writing or Musical Theater; DRAM b, Libretto
Writing or Musical Theater; DRAM b, The Choreographic Imagination; DRAM
b, Advanced Projection Design; DRAM a/b, Introduction to Set Design and
Design Techniques; DRAM b; Law and the Arts; and DRAM b, Managing the
Production Process. All plans o study must be approved by the chairs.
Class o
Year one (2023–2024)
Course Subject
DRAM ()a Toward Anti-Racist Theater Practice in Playwriting
DRAM a/b Survey o Theater and Drama
DRAM a Hansberry Welcome
DRAM a Fall Workshop
DRAM a The Theatrical Event
DRAM b New Play Lab
DRAM a Authentic Collaboration
DRAM b Industry Practice I
DRAM b Workshop with Actors
DRAM b Text Analysis I
DRAM a The Playwrights’ Studio
Year two (2024–2025)
Course Subject
DRAM ()a Toward Anti-Racist Theater Practice in Playwriting
DRAM a Hansberry Welcome
DRAM b Second-Year Anchor Class: Theater Now (NYC)
DRAM a The Production Process or Playwrights
DRAM a Fall Workshop
DRAM b Workshop with Actors
DRAM a The Playwrights’ Studio
DRAM a Teach What You Write
DRAM b Tutorial I
Playwriting (M.F.A. and Certificate)
David Gefen School o Drama –
Year three (2025–2026)
Course Subject
DRAM ()a Toward Anti-Racist Theater Practice in Playwriting
DRAM a Hansberry Welcome
DRAM b The Production Process
DRAM a Fall Workshop
DRAM a Industry Practice II
DRAM b Workshop with Actors
DRAM a The Playwrights’ Studio
DRAM a Tutorial II
DRAM b Tutorial III
Class o
Year two (2023–2024)
Course Subject
DRAM ()a Toward Anti-Racist Theater Practice in Playwriting
DRAM a Hansberry Welcome
DRAM b Second-Year Anchor Class: Theater Now (NYC)
DRAM a The Production Process
DRAM a Fall Workshop
DRAM b Industry Practice I
DRAM b Workshop with Actors
DRAM a The Playwrights’ Studio
DRAM a Teach What You Write
DRAM b Tutorial I
Year three (2024–2025)
Course Subject
DRAM ()a Toward Anti-Racist Theater Practice in Playwriting
DRAM a Hansberry Welcome
DRAM b The Production Process
DRAM a Fall Workshop
DRAM a Industry Practice II
DRAM b Workshop with Actors
DRAM a The Playwrights’ Studio
DRAM a Tutorial II
DRAM b Tutorial III
Class o
Year four (2023–2024)
Course Subject
DRAM ()a Toward Anti-Racist Theater Practice in Playwriting
DRAM a Hansberry Welcome
Playwriting (M.F.A. and Certificate)
DRAM b The Production Process
DRAM a Fall Workshop
DRAM a Industry Practice II
DRAM a Tutorial II
DRAM b Tutorial III
Anti-Racist Theater Practice Requirement
Playwriting students are required to enroll in DRAM ()a, Toward Anti-Racist The-
ater Practice in Playwriting, in order to ulfill the School’s anti-racist theater practice
requirement. Combined with the prerequisite workshop, Everyday Justice: Anti-Racism
as Daily Practice, this course oers vital strategies or the lielong development o indi-
vidual and communal anti-racist practice.
Theater History Requirement
Playwriting students are strongly encouraged to enroll in DRAM a/b, Survey o
Theater and Drama, in order to ulfil the School’s theater history requirement. One to
two courses in theater history oered by David Geen School o Drama or Yale Col-
lege may be substituted or DRAM a and/or b with the ollowing conditions: ) the
student has the program chairs’ approval; ) the student has the course instructors’
approval; ) a thorough vetting by program chairs and work-study supervisors o any
potential schedule conflicts.
DRAM 3(05)a, Toward Anti-Racist Theater Practice in Playwriting This course aims
to identiy the roots and branches o racism and white supremacy in the structures and
practices o theater making in the United States, including at the School and Yale Reper-
tory Theatre; to interrogate where the practices do harm and hinder; and to invest in the
uture by inviting students and aculty to imagine and upli systems and cultures that
do not depend upon or promote supremacy, to build a more just and equitable field. This
course ulfills the Playwriting requirement or anti-racist theater practice. Katie Christie,
Anne Erbe, Tarell Alvin McCraney
DRAM 6a/b, Survey of Theater and Drama See description under Dramaturgy and
Dramatic Criticism. This course ulfills Playwriting’s theater history requirement.
DRAM 7a, Hansberry Welcome A celebratory welcome o the Playwriting program
back to campus and David Geen School o Drama’s hearth. Hansberry’s seminal
work, A Raisin in the Sun, was based on the spirit o place and home; this intensive,
which includes seminar lunches and readings, is required o second- and third-year
playwrights. Some activities are open to students in other programs and anity groups;
please check with the chairs or details. Anne Erbe, Marcus Gardley, Tarell McCraney
David Gefen School o Drama –
DRAM 27b, Second-Year Anchor Class: Theater Now (NYC) This course is taught in
New York City and includes visits to productions and rehearsals, meetings with theater
proessionals, and discussion o assigned weekly writing. An immersion in current
industry methods, structures, and practices in advance o the playwrights’ final year at
the School and the Carlotta Festival o New Plays. Amy Herzog
DRAM 37a/b, The Production Process A practical and conceptual examination o new
plays in production, this course looks at how production rameworks can inorm the
playwright’s writing process. Includes seminars on anti-racist practice, building rela
-
tionships with collaborators, production timelines, and editing throughout the process.
Anne Erbe
DRAM 47a, Fall Workshop An experimental play space or works in their generative
stages. Exercises, improvisation, games, and investigation o dierent modes o creation.
Sarah Ruhl
DRAM 50a, The Theatrical Event Required o first-year playwrights. See description
under Directing.
DRAM 51b, New Play Lab In the spring, second-year actors, directors, dramaturgs, and
playwrights orm three small companies and workshop that play. Through this process,
playwrights, dramaturgs, directors, and actors develop the art o delving into the heart
o a new play. Anne Erbe, Yura Kordonsky, Tarell Alvin McCraney, Katherine Proeta,
Justine Williams
DRAM 53a, Authentic Collaboration See description under Acting.
DRAM 66a/THST 414a, Lyric Writing for Musical Theater The cra o lyric writing
in musical theater, as well as opera libretto writing, crossover work, immersive theater,
and plays with music. Both classic works and new composition used as objects o study.
Analysis o song orm and placement, and o lyric or character, tone, and diction.
Creation o lyrics in context. Noted composers and lyricists o produced musical theater
works join the class periodically to comment on the work created. Students also have
the opportunity to conceive an original work o musical theater, a crossover work, or an
opera libretto, and create portions o the score with original lyrics and music by student
composers, with whom the writers will collaborate. Open to non-Playwriting students
and undergraduates. Limited enrollment. Michael Korie
DRAM 67b/THST 412b, Libretto Writing for Musical Theater This course combines
practical instruction in book writing or musical theater with a close reading o historical
and contemporary examples rom the genre. Open to non-Playwriting students and
undergraduates with prior permission o the instructor. Limited enrollment. Marsha
Norman
[DRAM 87b, Serial Television and Series Writing An intensive practicum or second-
and third-year playwrights. Not oered in –]
Playwriting (M.F.A. and Certificate)
DRAM 97a, Industry Practice II A module course or students about to make their way
into the industry. This seminar covers reresher topics, including protocols or submit-
ting scripts to proessional theaters and agents, writing unding proposals, and ongoing
career strategies. Jennier Kiger
DRAM 97b, Industry Practice I A module course or first- and middle-year students.
Topics include protocols or submissions to proessional theaters, prizes, and grants;
survey o new play dramaturgy models and American new play development programs;
and ongoing career strategies. Jennier Kiger
DRAM 107b, Workshop with Actors Readings, discussion, and development o
works in progress. Working with a casting director, each playwright selects actors or
a workshop o their play. The writer leads the room in an exploration o an early dra
o a ull-length work. The all term is an elective oering or ourth-year playwrights;
the spring term is required o first- and middle-year playwrights. Anne Erbe, Marcus
Gardley
DRAM 163b, Text Analysis I Required o first-year playwrights. See description under
Acting.
DRAM 177a, The Playwrights’ Studio This course explores each playwright’s own
“studio space”—the physical, psychic, proessional, and social space we create to write
and connect with other artists and community members. Marcus Gardley
[DRAM 187b, Features An intensive practicum on screenwriting or second- and third-
year playwrights. Not oered in –]
DRAM 207a, Teach What You Write Required o middle-year playwrights, this course
ocuses on oundational tenets o teaching that have been shown to empower students,
build community and relationships, deliver content, and provide eedback and critique.
They are techniques that have their basis in brain research and educational philosophy
and will help guide learning and ocus instruction. By introducing these pedagogical
tools, the course aims to prepare playwrights to teach within a variety o communities,
about a multitude o subjects, and with their ull creativity activated. Majkin Holmquist
DRAM 307b, Tutorial I A weekly session scheduled with the instructor to discuss incipi-
ent ideas, goals, and dras o plays in progress. Required o all middle-year playwrights.
Anne Erbe, Tarell Alvin McCraney
DRAM 317a, Tutorial II A weekly –-hour session scheduled with the instructor to
discuss and explore Carlotta Festival plays. Required o all Carlotta playwrights. Marcus
Gardley
DRAM 327b, Tutorial III A weekly –-hour session scheduled with the instructor
in New Haven to discuss and explore Carlotta Festival plays. Required o all Carlotta
playwrights. Marcus Gardley
Stage Management (M.F.A. and Certificate)
Narda E. Alcorn, Chair
Stage managers are leaders, creative collaborators, and primary strategists o the the
-
atrical process. They translate, integrate, interpret, and negotiate multiple visions into
a cohesive whole, in service o a live perormative piece. Throughout each phase o a
production process, stage managers serve as artistic partners to every member o a col-
laborative team and possess a deep understanding o all theatrical disciplines.
The Stage Management program aims to be intentionally anti-racist in its curriculum
and in its pedagogy, providing practical and theoretical knowledge o stage management
and the other theatrical disciplines. Anti-racist tools and strategies are learned and exam-
ined during the course o study and integrated into the practice o stage management.
The Stage Management curriculum embraces the dynamic intersection o theory and
practice, and recognizes that theory can be an essential guide to how stage managers
ulfill their jobs and cultivate style.
The interdisciplinary curriculum includes stage management production assignments
and endeavors to be both rigorous and ull o care. Required courses and electives provide
a wide range o knowledge and training essential or today’s proessional. In addition
to the classroom requirements, students are assigned stage management positions or
productions at David Geen School o Drama and Yale Repertory Theatre. Stage manag-
ers regularly receive, assess, and implement eedback, and they are introduced to best
practices in mentoring and teaching. Stage managers regularly mentor their classmates
while working in stage management teams, and mentorship is an expected practice that
every student will engage in. The curricular and production components are structured
to prepare the student or work in the commercial, regional, and nontraditional arenas.
Many graduates combine their proessional practice with ormal educational positions
such as lecturer and proessor. The program o study is devoted to dismantling historic
stage management practices that have upheld systems o oppression. Students are
encouraged to integrate anti-racism into their daily practices and oster a culture o
inclusion where change, compassion, and adaptability are an ever-present part o the
production process.
Yale Repertory Theatre is especially potent because it serves as a proessional train-
ing center or the program. During the first or second year, the student may have the
opportunity to work at Yale Repertory Theatre in a production capacity. As part o the
second or third/ourth year o study, the student may be assigned as an assistant stage
manager or as the stage manager or a Yale Rep production, provided the standards and
qualifications set orth by the program are met and at the discretion o the chair. Students
are not guaranteed an assistant stage management or stage management position at Yale
Repertory Theatre, and Rep assignments, along with DGSD production assignments,
can ulfill requirements related to the student’s thesis. Membership in Actors’ Equity
Association may be attained by receiving an AEA contract as a stage manager or assistant
stage manager at Yale Repertory Theatre. Membership to AEA can also be attained
through AEA’s Open Access program or students who do not receive a Yale Rep contract.
Yale Cabaret provides an additional, although strictly extracurricular, outlet or the
exploration o a wide range o material, including sel-scripted pieces, company-devised
original work, adaptations, and musicals. As o their second term and subject to approval
by the program chair, stage managers have an opportunity to continue refining their cra
at the Cabaret and to engage in the production process through other disciplines like
design, directing, and perormance.
Attendance at all scheduled classes, rehearsal calls, work-study assignments, and pro-
ductions is mandatory. I students are unable to attend class, production, or work-study
due to illness, amily emergency, and the like, they have a responsibility to notiy those
who will be aected by their absence and the program chair. Students who have accrued
three absences in one class will automatically receive an incomplete in the course. They
must ulfill an additional assignment, at the discretion o the proessor, in order to receive
a grade or the course. As adult learners in training or a demanding proession, and
members o a highly interdependent community o co-learners, students are expected
to attend all classes, production assignments, and work-study assignments to the best o
their ability.
:
Classes o and
Year one
Course Subject
DRAM ()a/b Toward Anti-Racist Theater Practice in Stage Management
DRAM a/b Survey o Theater and Drama
DRAM a/b Principles o Stage Management
DRAM a Authentic Collaboration
DRAM a Creating a Positive Theater Saety Culture
DRAM a Stage Combat and Intimacy or Stage Managers
DRAM a/b Stage Management Seminar: Process and Practice
DRAM b Fundamentals o Music Literacy (contingent on schedule)*
DRAM a Introduction to Set Design
DRAM a Production Planning
DRAM b Managing the Production Process
DRAM a/b Stage Management Forum: The Artistic Process
Production assignments as determined by chair
Year two
Course Subject
DRAM ()a/b Toward Anti-Racist Theater Practice in Stage Management
DRAM a Founding Visions
DRAM a Proessional Stage Management Practice in the Equity Agreement
DRAM b Proessional Stage Management Practice in Perormance
DRAM a Stage Combat and Intimacy or Stage Managers
Stage Management (M.F.A. and Certificate)
David Gefen School o Drama –
DRAM b Introduction to Lighting Design (contingent on schedule)*
DRAM b Law and the Arts
DRAM a Introduction to Sound Design (contingent on schedule)*
DRAM a Costume Production
DRAM a/b Stage Management Seminar: Process and Practice
DRAM a Theory-Guided Stage Management Practice
DRAM a/b Stage Management Forum: The Artistic Process
DRAM a/b The Call: Yale Rep Stage Management Sta Seminar
One required elective with chair approval (our electives required in total)
Production assignments as determined by chair
Year three
Course Subject
DRAM ()a/b Toward Anti-Racist Theater Practice in Stage Management
DRAM a Stage Combat and Intimacy or Stage Managers
DRAM b Supportive Leadership Techniques: Implementing Methods as an
Assistant Stage Manager
DRAM a/b Stage Management Seminar: Process and Practice
DRAM a Stage Management or the Commercial Theater
DRAM a/b The Stage Manager’s Thesis
DRAM a/b Stage Management Forum: The Artistic Process
DRAM a/b The Call: Yale Rep Stage Management Sta Seminar
Three required electives with chair approval (our electives required in total)
Production assignments as determined by chair
*Courses are required and will be taken first, second, or third year depending on when they are oered
without schedule conflicts with the program’s core curriculum.
Class o
Year four
Course Subject
DRAM a/b The Stage Manager’s Thesis
DRAM a/b The Call: Yale Rep Stage Management Sta Seminar
Required electives with chair approval (our electives required in total)
Production assignments as determined by chair
Anti-Racist Theater Practice Requirement
Stage Management students (in years one to three) are required to enroll in DRAM
()a/b, Toward Anti-Racist Theater Practice in Stage Management, in order to ulfill
the School’s anti-racist theater practice requirement. Combined with the prerequisite
workshop, Everyday Justice: Anti-Racism as Daily Practice, this course oers vital strate-
gies or the lielong development o individual and communal anti-racist practice.
Stage Management (M.F.A. and Certificate)
Production Assignment Requirement
Each Stage Management student will be assigned one or more production assignments
at DGSD and/or YRT each year. Assignments are made at the discretion o the chair and
must be completed in ulfillment o the degree. Production assignments are careully
curated to each individual student and there is no set track or sequence that every student
will ollow. Assignments may change at any time and additional assignments may be
given to a student i the need arises.
Electives Requirement
A total o our electives are required to ulfill the degree requirements and graduate. They
may be taken beginning year two rom the suggested list o elective courses. Courses at
the other Yale proessional schools or Yale College may also be considered. All required
electives must be approved by the chair.
Suggested electives: DRAM a, Theater Organizations; DRAM a, Functions o
Leadership: Organizational Direction; DRAM a, Introduction to Costume Design;
DRAM b, Electricity; DRAM a, Human Resources: Supporting People and Build-
ing Culture; DRAM b, Recording Arts; DRAM a, Shop Technology; DRAM
b, Rigging I; DRAM b, Proessional Development or Technical Managers;
DRAM a, Physics o Stage Machinery; DRAM b, Hydraulics and Pneumatics;
DRAM b, Labor and Employee Relations; DRAM a, Introduction to Projection
Design; DRAM a, Technical Management I; DRAM b, Technical Management
II; DRAM a, Commedia.
DRAM 3(06)a/b, Toward Anti-Racist Theater Practice This course meets both within
individual programs and across disciplines, with students and aculty members as ellow
learners, using readings, viewings, and discussions in pursuit o these goals: to identiy
the roots and branches o racism and white supremacy in the structures and practices o
theater making in the United States, including at David Geen School o Drama and Yale
Repertory Theatre; to interrogate where the practices do harm and hinder; and to invest
in the uture by inviting students and aculty to imagine and upli systems and cultures
that do not depend upon or promote supremacy, to build a more just and equitable field.
Narda E. Alcorn, Laura Brown-MacKinnon, James Mountcastle, Benjamin E. C. Pfister
DRAM 6a/b, Survey of Theater and Drama See description under Dramaturgy and
Dramatic Criticism.
DRAM 11a, Theater Organizations See description under Theater Management.
DRAM 21a, Founding Visions See description under Theater Management.
DRAM 40a/b, Principles of Stage Management This undamental course investigates
theater making rom the point o view o a stage manager. Through exploration o
the nine phases o the production process (pre-production, first rehearsal, rehearsals,
pre-tech, tech, previews, opening, perormances, closing), students learn artistic and
organizational techniques needed to proessionally stage manage traditional and nontra-
ditional productions. Management theory is integrated into each step o the nine-phase
David Gefen School o Drama –
process, allowing each student to identiy how their practice can be inormed by theory
and to begin cultivating their individual stage management style. Required o first-year
stage managers. Narda E. Alcorn
DRAM 53a, Authentic Collaboration See description under Acting.
DRAM 59a, Creating a Positive Theater Safety Culture See description under Technical
Design and Production.
DRAM 60a, Professional Stage Management Practice in the Equity Agreement An
introduction to Actors’ Equity Association, the proessional stage manager’s responsibili-
ties within an Equity contract, and a stage manager’s collaborative relationship with all
stakeholders in that contractual agreement. An emphasis o this course is on practical
use and application o the contract with particular ocus on rehearsal work rules and
provisions. Specific stage management methods and techniques within the collaborative
process o rehearsal and tech are closely considered. As a practical guide, this course
uses the AEA/LORT agreement as its primary text and as reerence or assignments
and discussion. Questions are drawn around proessional responsibilities and privileges
central to the stage manager’s daily work experience. Students are required to consider
these questions o privilege and responsibility as they each urther develop a personal
proessional style where active commitment to inclusive and anti-racist theater practice
is a hallmark. James Mountcastle
DRAM 60b, Professional Stage Management in Performance This course continues
a study o the proessional stage manager working in various situations. Looking at
specific methods and practices o the work, the ocus shis in the spring term to pro-
cesses in place aer the show has opened. Among the topics discussed in this course:
backstage set-up, cue calling, show maintenance, perormance assessment and reports,
understudies, replacements, and a stage manager’s close working relationship with
actors in perormance. Serious consideration o these topics is intended to lead to a
candid ongoing discussion o practical realities and principles crucial to the notion o
proessional stage management as a career. James Mountcastle
DRAM 80a, Stage Combat and Intimacy for Stage Managers This course is designed
to provide the stage manager an understanding o the techniques and saety measures
employed when staging combat and intimacy. Through both group-led discussion
and practical learning, we establish how to create and maintain the sae and equitable
room needed or this work. We explore the spectrum o staging emotional and physical
intimacy, unarmed combat, swordplay, weapon use and maintenance, theatrical eects,
inter-program collaboration, and saety issues. Kelsey Rainwater, Mike Rossmy
[DRAM 90b, Supportive Leadership Techniques: Implementing Methods as an Assis-
tant Stage Manager This course is structured to investigate the many tools, techniques,
and values o being a supportive and thoughtul member o a stage management team
(ASM, PA, and Sub SM). Evaluating tools to run a deck, providing adaptable models
o paperwork, and incorporating flexible systems are all encapsulated in the course.
Through analysis o methods, investigation o communication tactics, and honest
discussions o dynamics in the current theatrical field, this course ocuses on a stage
Stage Management (M.F.A. and Certificate)
manager’s application o tools and theories while remaining vulnerable, authentic, and
rooted in their values. Not oered in –]
DRAM 100a/b, 200a/b, 300a/b, Stage Management Seminar: Process and Practice
This dynamic investigation o process is designed to bring the entire program together
with core stage management aculty to explore, reflect, and discuss how we approach the
art o stage management through the lenses o COVID- and anti-racism; and to con-
sider how we can identiy the characteristics o white supremacy and decentralize white
culture rom our current theater conditions and practices. This deep learning encourages
various points o view while stressing commitment, compassion, kindness combined
with the courage to name and challenge racism, honesty, ocus, dignity, and respect or
the subjects at hand. Narda E. Alcorn, Laura Brown-MacKinnon, James Mountcastle,
Benjamin E. C. Pfister
DRAM 108b, Fundamentals of Music Literacy See description under Design.
DRAM 111a, Functions of Leadership: Organizational Direction See description under
Theater Management.
DRAM 112a, Introduction to Set Design See description under Design.
DRAM 115a, Introduction to Costume Design See description under Design.
DRAM 119b, Electricity See description under Technical Design and Production.
DRAM 121a, Human Resources: Supporting People and Building Culture See descrip-
tion under Theater Management.
DRAM 124b, Introduction to Lighting Design See description under Design.
DRAM 141b, Law and the Arts See description under Theater Management.
DRAM 149a, Production Planning See description under Technical Design and
Production.
DRAM 158a, Introduction to Sound Design See description under Design.
DRAM 168b, Recording Arts See description under Design.
DRAM 169a, Shop Technology See description under Technical Design and Production.
DRAM 169b, Rigging I See description under Technical Design and Production.
DRAM 189a, Costume Production See description under Technical Design and
Production.
DRAM 191b, Managing the Production Process See description under Theater
Management.
DRAM 199b, Professional Development for Technical Managers See description under
Technical Design and Production.
DRAM 200a/b, Stage Management Seminar: Process and Practice See description
under DRAM a/b.
David Gefen School o Drama –
DRAM 209a, Physics of Stage Machinery See description under Technical Design and
Production.
DRAM 209b, Hydraulics and Pneumatics See description under Technical Design and
Production.
DRAM 221b, Labor and Employee Relations See description under Theater
Management.
DRAM 224a, Introduction to Projection Design See description under Design.
DRAM 249a, Technical Management I See description under Technical Design and
Production.
DRAM 249b, Technical Management II See description under Technical Design and
Production.
DRAM 253a, Commedia See description under Acting.
DRAM 300a/b, Stage Management Seminar: Process and Practice See description
under DRAM a/b.
[DRAM 400a, Stage Management for the Commercial Theater The ocus o this course
centers on stage management or the commercial theater with emphasis on process and
current conditions in the industry. As a primer or the stage manager to work in the
commercial theater, this course is an in-depth study o the production process according
to the theatrical unions who perorm backstage on Broadway, including but not limited
to AEA, I.A.T.S.E., Local /Wardrobe, Local /Hair and Make-up, and Local
/Musicians. Not oered in –]
DRAM 500a/b, The Stage Manager’s Thesis Each third- or ourth-year student must
ulfill three requirements in ulfillment o their thesis: stage manage a major produc-
tion at the School or Yale Repertory Theatre; prepare and submit the production book;
write a comprehensive production reflection or write about a stage management topic
approved by the program chair. Comprehensive production reflections must include
a critical examination o the employment o theory and how it influenced the stage
manager’s process throughout the production. Written stage management topics
must be approved by the chair no later than the end o the second or third year. Both
production reflections and stage management topics must be evaluated and critiqued
by two approved independent readers. The final, bound edition o the written thesis is
considered by the aculty along with production work in determining whether a degree
should be granted. Narda E. Alcorn
DRAM 600a, Theory-Guided Practice: Stage Management and Teaching Theory-
guided practice aims to incorporate theoretical rameworks into the stage manager’s
leadership and teaching process. Theory-guided practice incorporates perspective,
long-term thinking, a point o view, anticipation, innovation, and anti-racism. Students
are introduced to such theoretical rameworks as Care Ethics, Utilitarianism, Service
Leadership, Adaptive Leadership, and Emergent Strategy to integrate into their process.
bell hooks’s Teaching to Transgress and Teaching Critical Thinking serve as oundational
Stage Management (M.F.A. and Certificate)
texts or students to develop their teaching philosophy. Through class discussions,
writing assignments, and critical examination, students actively and intentionally learn
to integrate theory into their daily stage management and teaching practices. Narda
E. Alcorn
DRAM 700a/b, Stage Management Forum: The Artistic Process This two-term course
ocuses on stage management techniques and experiences rom a variety o collaborators.
Through a series o multi-week classes (modules) and workshops led by proessionals
in a variety o entertainment fields, students explore artistic process and learn specific
management skills pertinent to diverse genres. Topics rotate on a three-year basis and
include music, dance, opera, event management, industrials, musical theater, touring,
film, television, theater or children, theme parks, theatrical technology, computer
applications, vocal training, and physical awareness. Open to non-Stage Management
students with permission o the chair. Narda E. Alcorn; and other proessional program
lecturers
DRAM 800a/b, The Call: Yale Rep Stage Management Sta Seminar This weekly
seminar discussion is required o all stage management students in their second, third,
and ourth years o study. Current issues playing out in Yale Repertory Theatre’s rehearsal
rooms and meetings and on its stages are discussed among stage management students
working at Yale Rep and with the production stage manager. This course is meant to
bring the David Geen School o Drama stage management student class experience
into close alignment with the Yale Rep proessional experience and to ormalize the
relationship o Yale Repertory Theatre as an exemplary teacher in proessional stage
management at the School. James Mountcastle
DRAM 900a/b, Independent Study and Enrichment This course allows the curious
Stage Management student to take a deep dive into a specific area and engage in sel-
study and reflection. This exploration is student-led, with the guidance o the instructors,
and students are encouraged to explore other courses through Yale College, the Graduate
School, and the other proessional schools. Improving skill sets, studying diverse topics,
and exploring the discipline and the field are among the many ways students can engage.
Each student will be assigned to one o the instructors, who will approve the student’s
proposed Independent Study and Enrichment. Narda E. Alcorn, James Mountcastle
Technical Design and Production
(M.F.A. and Certificate)
Shaminda Amarakoon, Chair
Jennier McClure, Associate Chair
The curriculum o the Technical Design and Production (TD&P) program aims to train
those who appreciate the artistry o technical systems as much as the science necessary
to execute them, those who enjoy solving challenges through collaboration, and who
are driven to discover and innovate. And above all, we train those who want to oster a
community where everyone belongs.
The program brings together immensely dedicated ull-time aculty, lecturers, and
production sta members with a primary ocus on supporting students in their career
goals. In a field that is in constant tension with rapidly evolving technology and spectacle,
we train technical managers who put people beore product while achieving the artistic
goals.
The program weaves hands-on skill courses such as Draing and Stage Rigging
Techniques, theory-based courses like Technical Management and Imagining an Anti-
Racist Production Process, and elective courses that allow concentrations in such fields
as production management, technical direction, stage machinery, and automation, or
theater planning and consulting. The program’s aculty and sta oer courses covering a
wide range o topics, including production planning, draing, structural design, rigging,
automation, lighting, mechanical design, show control, properties, costumes, sound and
video technology, theater engineering, technical management, and health and saety.
Seminars introduce students to noted proessionals. We encourage students to augment
their education with courses rom other programs and schools at Yale, including Archi-
tecture, Management, and Engineering & Applied Science.
These courses are paired with proessional work assignments (PWAs) that urther
students’ skills and goals. Some PWAs place students in technical management roles
including assistant production electrician, assistant properties manager, assistant
technical director, associate production manager, associate saety adviser, production
electrician, production manager, projection engineer, properties manager, technical
director, sound engineer, and stage carpenter. Students can request additional roles or
research projects or PWAs. All proessional work assignments serve to give students
practical management training or research time to complement and reinorce anti-racism
training, skills, and theory rom the classroom. Additionally, they expose students to new
techniques, and students learn how to work with dierent teams eectively and saely.
The successul completion o eight PWAs is necessary or the degree.
The M.F.A./Certificate program includes a research thesis in the final year, designed,
written, realized, and presented by the student in the student’s area o concentration. The
thesis is an opportunity to investigate and highlight a topic in technical theater that has
or will impact the field.
:
Classes o and
Year one
Course Subject
DRAM a/b TD&P Seminar
DRAM a/b Structural Design or the Stage
DRAM b Electricity
DRAM a Production Planning
DRAM a Creating a Positive Theater Saety Culture with Supporting
Technology
DRAM a Shop Technology
DRAM b Rigging I
DRAM a Draing I: AutoCAD
DRAM b Technical Design I
DRAM b Proessional Development or Technical Managers
DRAM b Imagining an Anti-Racist Production Process
One elective (all term)
Three proessional work assignments
Year two
Course Subject
DRAM a/b TD&P Seminar
DRAM a Physics o Stage Machinery
DRAM a Technical Management I
DRAM b Technical Management II
DRAM b Technical Writing
Two courses rom history requirement list (see below)
Six electives (three in the all, three in the spring)
Three proessional work assignments*
Year three
Course Subject
DRAM a/b TD&P Seminar
DRAM a Technical Design and Production Thesis
Seven electives
Two proessional work assignments*
*Students in their second or third year may request the substitution o a substantial project or one
proessional work assignment.
Technical Design and Production (M.F.A. and Certificate)
David Gefen School o Drama –
Class o
Year four
Course Subject
DRAM a/b TD&P Seminar
DRAM a Technical Design and Production Thesis
Two electives
Two proessional work assignments
Anti-Racist Theater Practice Requirement
Technical Design and Production students are required to enroll in DRAM b, Imagin
-
ing an Anti-Racist Production Practice, in their first year in order to ulfill the School’s
anti-racist theater practice requirement. Combined with the prerequisite workshop,
Everyday Justice: Anti-Racism as Daily Practice, this course oers vital strategies or the
lielong development o individual and communal anti-racist practice.
Theater History Requirement
It is recommended that in their second year o study, students in Technical Design and
Production enroll in two terms o any o the ollowing courses in order to ulfill the
School’s theater history requirement. Alternative history courses could be proposed by
the student but must be approved by the TD&P aculty.
DRAM a/b, Survey o Theater and Drama
DRAM a, Founding Visions
DRAM a, History o Decorative Styles
DRAM a/b, The History o Set Design
DRAM a/b, The History o Costume
DRAM b, History o Theater Architecture
DRAM a/b, Evolution o Cut and Cloth
Elective Sequence
Electives are determined in consultation with a aculty adviser and allow each student
flexibility in selecting courses in the student’s chosen area o concentration. Suggested
electives or common areas o concentration (production management, technical direc-
tion, stage machinery and automation, theatre consulting) are oered in the TD&P
Guidebook.
Graduation Requirements
For TD&P students to be eligible to participate in Commencement ceremonies at the
end o their residency, all courses and Proessional Work Assignments (PWA) need to
be satisactorily completed as outlined above except or DRAM a/b, where a student
need only to be approved to go out to readers with their thesis. Students will receive
Technical Design and Production (M.F.A. and Certificate)
their diplomas upon completion o all requirements above and submitting a completed
version o their thesis to the aculty.
Technical Design and Production students are encouraged to work in all capacities at the
Yale Cabaret; however, this participation is understood to be in addition to and in no
way a substitution or required program work. Unless assigned as a PWA, no student
with a grade o Incomplete, and no student on academic warning, may participate in the
Yale Cabaret in any capacity.
DRAM 6a/b, Survey of Theater and Drama See description under Dramaturgy and
Dramatic Criticism.
DRAM 9a/b, TD&P Seminar This weekly course brings together all three years o
TD&P students. Sessions include presentations by industry proessionals, reviewing
the production process o DGSD and YRT shows, training in specific aspects o techni-
cal theater, career development strategy, and departmental conversations on equity,
diversity, inclusion, and belonging. Students with a management role on a production
are expected to prepare a presentation in collaboration with the other managers to
critique their work, ocusing on the challenges and successes encountered throughout
the process. Shaminda Amarakoon
DRAM 29a, History of Decorative Styles This exploration o global decorative and
period styles builds o the history o interior design with throughlines exploring
building design, urniture, everyday objects, and written communication. Lectures are
slide-based, oering specific names, terminology, and research sources, oen with a
ocus on how they relate to choices made regarding set design and decoration. Class
projects encourage students to find examples o elements discussed in their everyday
environments and integrate specific plays set in dierent locations and time periods.
Open to non-TD&P and non-Drama students with permission o the instructor. Jennier
McClure
DRAM 59a, Creating a Positive Theater Safety Culture How do you create a positive
theater saety culture that balances OSHA requirements with artistic vision? Topics
include risk assessment, chemical and fire hazards, weapons, special eects, fire pre
-
vention, code requirements, and emergency procedures. Case studies are discussed,
along with the saety-related requirements or work on the stage. Class topics ulfill the
requirements or the OSHA- Outreach Course in General Industry, and students who
successully complete the course receive an Outreach Card rom OSHA. Oered or first-
year stage management students. Open to non-TD&P students with prior permission o
the instructor. Anna Glover
DRAM 69a, Welding Technology A course in the undamentals and applications o
electric arc welding techniques (TIG, MIG, STICK) as well as brazing and soldering.
Emphasis is on welding o metals including: steel, aluminum, brass, copper, etc.; joining
David Gefen School o Drama –
dissimilar metals; fixturing; and evaluating the appropriate process or an application.
The majority o class time is spent welding, brazing, or soldering. Enrollment is limited
to six. David Johnson
DRAM 69b, Mechanical Instrumentation A course or both the arts and sciences that
goes beyond an introductory shop course, oering an in-depth study utilizing hands-on
instructional techniques. Surace finishes and tolerances versus cost and time, blueprint
reading, machineability o materials, eeds and speeds, and grinding o tools are dis-
cussed and demonstrated. David Johnson
DRAM 89b, Costume Construction This course develops a working knowledge o
the process o constructing a period costume. Students are guided over the course o
the semester through pattern development, layout and cutting, basic dressmaking and
tailoring techniques, fitting bespoke garments, and managing shop workflow as they
work together to build a period garment. Enrollment is limited to five. Carmel Dundon
DRAM 109a/b, Structural Design for the Stage This course concurrently develops
the precalculus mathematics and physical sciences requisite or advanced study in
modern theater technology. It concentrates on the application o statics to the design
o sae, scenic structures. Assignments relate structural design principles to production
applications. Open to non-TD&P and non-Drama students with prior permission o the
instructor. Bronislaw Sammler
DRAM 119b, Electricity This course presents the basics o theoretical and practical
electricity and electronics o live event production. Open to non-TD&P students with
permission o the instructor. Eric Lin
DRAM 122a/b, The History of Stage Design See description under Design.
DRAM 125a/b, The History of Costume See description under Design.
DRAM 129b, History of Theater Architecture A survey o European and American
theater architecture as it relates to cultural and technological changes through time. This
course uses the writings o current and past authorities on such subjects as acoustics,
space layout, and decoration to illustrate and evaluate these buildings’ many variations.
Open to non-TD&P and non-Drama students with prior permission o the instructor.
Alan Hendrickson
DRAM 139b, Sound Engineering and Design This course provides students with
the basic skills and vocabulary necessary to perorm as sound engineers. Students are
introduced to standard sound system design practice, associated paperwork, production
design tools, acoustic assessment tools, and sound delivery systems addressing both
conceptual and sound reinorcement design. Open to non-TD&P students with permis-
sion o the instructor. Michael Backhaus
DRAM 149a, Production Planning An introduction to the School and Yale Repertory
Theatre production planning process, including the estimating o materials and labor
or all phases o production. This course then explores the tools and techniques useul to
each production program: scenery, paints, props, costumes, lighting, sound, projections,
and stage operations. Includes lecture and discussion sections, mixed with individual and
Technical Design and Production (M.F.A. and Certificate)
group projects, that demonstrate the budget and planning systems used at the School
and Yale Rep or every show. Open to non-TD&P students. Jonathan Reed
DRAM 155a/b, Evolution of Cut and Cloth See description under Design.
DRAM 159a, Creating a Positive Theater Safety Culture with Supporting Technology
Combining saety and health topics with a practical application o technology allows
students to see how the two can support each other to create a world-class theater
practice. This course covers key saety topics including risk assessment, chemical and
fire hazards, weapons, special eects, and emergency procedures, alongside practical
training in Microso Oce soware, material handling, and scaold and li training.
Aer taking this class, students have the oundational knowledge to leverage soware
and technical resources as they assess and mitigate risks commonly ound in theater prac-
tice. Class topics ulfill the requirements or the OSHA- Outreach Course in General
Industry, and students who successully complete the course receive an Outreach Card
rom OSHA. Anna Glover, Jonathan Reed
DRAM 169a, Shop Technology This course serves as an introduction to the scene shops
and technology available at the School. Materials, construction tools and techniques, and
shop organization and management are examined in the context o scenic production.
Students are assigned weekly projects to demonstrate proficiency with the tools and
techniques covered in the lectures, as well as a culminating project at the end o the
term. Open to non-TD&P students with permission o the instructors. Latiana “LT”
Gourzong, Matt Welander
DRAM 169b, Rigging I This course examines traditional and nontraditional rigging
techniques. Equipment discussed includes, but is not limited to, counterweight and
mechanical rigging systems and their components. Class ormat is both lecture and lab
with written and practical projects assigned to urther the student’s understanding. Open
to non-TD&P students with permission o the instructor. Latiana “LT” Gourzong
DRAM 179a, Draing I: AutoCAD This course explores draing as the means to com-
municate ideas and design solutions eectively. Students start the term sketching by
hand and quickly transition to using AutoCAD to create drawings and three-dimensional
models. Topics are presented through a combination o lectures, demonstrations, and lab
work. Students complete individual assignments and participate in class critiques o their
work. Open to non-TD&P students with permission o the instructor. Matt Welander
DRAM 179b, Technical Design I This course builds on the skills learned in DRAM
a. Topics include the technical design process, undamentals o scenery construction,
and the development o clear and detailed shop drawings using industry best practices
and graphic standards. Material is presented through a combination o lectures, discus-
sions, group assignments, and lab work. Students complete individual assignments and
participate in class critiques o their work. Open to non-TD&P students. Prerequisite:
DRAM a or permission o the instructor. Latiana “LT” Gourzong
DRAM 189a, Costume Production This course provides the opportunity or an in-
depth analysis o and conversation about the processes involved in realizing a set o
stage-worthy costumes. Focus is on understanding the design, build, and technical
David Gefen School o Drama –
methods, including interpreting the sketch and research; selecting and sourcing abrics/
materials; budgeting; and developing strong, communicative working relationships
between the costume designer, production sta, stage managers, actors, directors, and
other members o the creative team. Christine Szczepanski
DRAM 199b, Professional Development for Technical Managers This course blends
the culture o good work practices with the skills, experiences, and technology necessary
to meet the demanding needs o live production. Topics range rom mental health and
well-being, to digital and design accessibility, to saety culture, to technical writing or
career advancement. Open to non-TD&P students with permission o the instructors.
Anna Glover, Jonathan Reed
DRAM 209a, Physics of Stage Machinery This course introduces Newtonian mechan-
ics as an aid in predicting the behavior o moving scenery. Theoretical perormance
calculations are developed to approximate the actual perormance o stage machinery.
Open to non-TD&P students with prior permission o the instructor. Eric Lin
DRAM 209b, Hydraulics and Pneumatics Discussions o concepts and components
begun in DRAM a are continued or fluid power systems. Topics include hydraulic
power unit design, the selection and operation o electro-hydraulic proportional valves,
load liing circuits using counterbalance valves, and pneumatic system design. Emphasis
is placed on the practical aspects o component selection, especially or cylinders, hose,
and fittings. Open to non-TD&P students with prior permission o the instructor. Eric
Lin
DRAM 219a, Lighting Technology This course combines lectures and lab demonstra-
tions on the setup and use o lighting equipment, technology, and eects used in live
events. Students learn o the available technology and its proper use and handling. Top-
ics include power distribution, DMX, Power and Circuit plots, LED fixtures, moving
lights, board programming, og and haze units, and practicals. Open to non-TD&P and
non-Drama students with permission o the instructor. Donald Titus
DRAM 219b, Lighting Production Process This course prepares the student in the
procedures o translating the light design rom concept to the stage and osters a col-
laborative process between the designer and technician. Each student is given a light plot
at the beginning o the course, and over the term using the various paperwork, soware,
and workflow needed, creates a plan or loading their show into its theater, creating a
channel check procedure, as well as creating the load-out plan. Open to non-TD&P and
non-Drama students with permission o the instructor. Donald Titus
DRAM 229a, Theater Planning and Construction This course is an introduction to
planning, design, documentation, and construction o theaters, concert halls, and similar
spaces. Emphasis is placed on the role o the theater consultant in unctional planning
and architectural design. The goal is to introduce the student to the field and provide
a basic understanding o the processes and vocabulary o theater planning. Open to
non-TD&P and non-Drama students with permission o the instructor. Matt Welander,
Eugene Leitermann
Technical Design and Production (M.F.A. and Certificate)
DRAM 239a/b, Projection Engineering This course provides students with the skills
and vocabulary necessary to perorm as projection engineers. Students are introduced
to the paperwork to design, the equipment to implement, and the soware to operate
a successul video projection system while interacing with a projection designer. Open
to non-Design and non-TD&P students with permission o the instructor. Anja Powell
DRAM 249a, Technical Management I This course explores topics integral to the man-
agement o technical production processes, including eective communication, building
strong teams, and ecient resource management. Lectures, guest presentations, and
class discussions touch on a variety o techniques, standard practices, and legal param-
eters ound in many theatrical producing organizations. Assignments provide urther
exploration o related topics in the orm o written material, and weekly group discus-
sions about management observations put theory into practice. Open to non-TD&P
students. Jonathan Reed, Shaminda Amarakoon
DRAM 249b, Technical Management II A continuation o DRAM a, this course
continues the exploration o eective communication, building strong teams, and
ecient resource management in service o managing technical production processes.
Lectures, guest presentations, and class discussions touch on a variety o techniques,
standard practices, and legal parameters ound in many theatrical producing organiza-
tions. Assignments provide urther exploration o related topics in the orm o written
material, and weekly group discussions about management observations put theory into
practice. DRAM a is not a prerequisite or this class. Open to non-TD&P students.
Jonathan Reed, Shaminda Amarakoon
DRAM 269a, Rigging II This course builds on the concepts introduced in DRAM b.
Topics include rigging solutions or Broadway and national tours, flying perormers, all
protection, and rescue techniques. Projects include both written and hands-on work.
Prerequisites: a grade o High Pass or better in DRAM b and the ability to work at
heights. Neil Mulligan
DRAM 279b, Technical Design II This course examines the technical design process
through the development o solutions to scenery construction projects. Solutions, utiliz-
ing traditional and modern materials and abrication techniques, are studied rom the
perspectives o eciency, budget, labor, saety, and structural integrity. Enrollment is
limited to ten. Neil Mulligan
DRAM 289a, Draping This course explores the undamentals o draping. Emphasis is
on students developing a working knowledge o basic draping principles and techniques
through guided exercises on the orm and the study o example garments and visual
research. Enrollment is limited to six. Carmel Dundon
DRAM 299b, Technical Writing The objective o this second-year course is to improve
writing skills, assisting students to convey inormation clearly, logically, and eectively.
The course ocuses on interpreting, editing, and creating orms o technical documenta-
tion produced in the field o technical management. The course also includes thesis
preparation and topic development, culminating in a thesis proposal submitted to pro-
gram aculty. C. Nikki Mills
David Gefen School o Drama –
DRAM 309a, Mechanical Design for Theater Applications This course ocuses on the
process o mechanical design or temporary and permanent stage machinery. Design
considerations and component selections are examined through lectures, discussions,
assignments, and project reviews. Other topics include motion control, fluid power
circuit design, and industrial standards. Alan Hendrickson
DRAM 319a, Automation Control Designing and constructing control systems or
mechanized scenery involves theoretical and practical work in electrical power distribu-
tion, switching logic, electronics, and soware programming. The material covered in
lectures and labs progresses rom simple on-o electrical control, to relay logic, motor
speed control, and finally ull positioning control. Enrollment limited to eight. Open to
non-TD&P students with prior permission o the instructor. Eric Lin
[DRAM 329a, Theater Engineering: Lighting, Sound, Video, and Communication Sys-
tems This course introduces the basic concepts o the design o lighting, sound, video,
and communication systems and inrastructure within the context o the overall design
o perorming arts acilities. Topics include programming and budgeting equipment
systems, code requirements, and integration with other building systems. The student
develops and details basic equipment systems within a building envelope provided by
the instructor. Open to non-TD&P students with permission o the instructors. Not
oered in –]
DRAM 359b, Safety, Health, and Risk Management in Theater This course examines
the application o risk assessment and risk registers, codes, and standards (including
OSHA CFR and CFR, NFPA Lie Saety Code, etc.) in theater through
the lens o behavior-based saety. Students learn how to implement and maintain a robust
saety culture within a theatrical environment and gain an understanding o risk analysis
and resilience. Students who successully complete the course ulfill the requirements or
the OSHA- Outreach Course in General Industry and receive an Outreach Card rom
OSHA. Open to non-TD&P students with permission o the instructor. Anna Glover
DRAM 369a, Rope Access I This course ollows the training requirements or obtaining
Level Technician certification per the Society o Proessional Rope Access Technicians
(SPRAT). Practice and evaluation consists o verbal and written tests on rope access
programs and equipment and demonstrated ability on individual maneuvers, rescue
maneuvers, and rigging. Class size is limited to six participants. Prerequisite: Must saely
and eciently ascend and descend a vertical set o ropes by the end o the first class
session. Neil Mulligan
DRAM 369b, Rope Access II This course ollows the training requirements or obtain-
ing Level Technician certification per the Society o Proessional Rope Access Techni-
cians (SPRAT). Practice and evaluation consists o verbal and written tests on rope access
programs and equipment, and demonstrated ability on individual maneuvers, rescue
maneuvers, and rigging. Class size is limited to six participants. Prerequisite: Successul
completion o Rope Access I. Neil Mulligan
DRAM 379b, Draing II: Inventor and Fusion 360 This course explores D para-
metric modeling or technical design in the entertainment industry. Students develop
Technical Design and Production (M.F.A. and Certificate)
proficiency with Autodesk Inventor and Fusion through demonstrations, lab work,
and individual assignments. Open to non-TD&P students. Prerequisite: DRAM a or
permission o the instructor. Matt Welander
DRAM 389a, Properties Design and Construction I Through lectures and demonstra-
tions, students study design and abrication o stage properties. Assignments encour-
age students to develop cra skills and explore the application o traditional and new
techniques to production practice. Topics covered include, but are not limited to, prop
paperwork and organization, urniture construction and repair, upholstery, blood eects,
patternmaking or props, and rattan construction. Enrollment is limited to eight. Open
to non-TD&P students with prior permission o the instructors. Jennier McClure,
David P. Schrader
DRAM 389b, Properties Design and Construction II Through lectures and dem-
onstrations, students study design and abrication o stage properties. Assignments
encourage students to develop cra skills and explore the application o traditional and
new techniques to production practice. Topics covered include, but are not limited to,
oam carving, aux paint treatments, mask making, molding and casting, and ake ood.
Enrollment is limited to eight. DRAM a is not a pre-requisite or this course, and
this course can be taken prior to a i desired. Open to non-TD&P students with prior
permission o the instructors. Jennier McClure, David P. Schrader
DRAM 399a, Technical Design and Production Thesis Prior to the start o the course,
each student submits a thesis proposal to the program aculty or review. The thesis
topic must be applicable to advancing conversations, concepts, or practices within the
technical theater industry by addressing a production- or planning-oriented subject with
a new or updated perspective. Following topic approval, throughout the course as well as
under a aculty and/or content adviser’s guidance, the student develops the thesis while
continuing to build on research and writing skills rom DRAM b. Aer revision and
adviser’s approval, the work is presented to and evaluated and critiqued by program
aculty and three independent readers and/or evaluators. Additional details on thesis
requirements, including parameters or the reader’s version, can be ound in both the
TD&P Guidebook and the Thesis Requirements Document. C. Nikki Mills
DRAM 409a, Advanced Structural Design for the Stage This course builds on the con-
cepts introduced in DRAM a/b. Topics include aluminum beam and column design,
plywood design, and trusses and cables. Prerequisite: DRAM a/b or permission o
the instructor. Bronislaw Sammler
DRAM 419b, Systems Integration for Live Entertainment Topics include data com-
munication and networking principles; details o entertainment-specific protocols such
as DMX, MIDI, OSC, and sACN; and practical applications and principles o system
design using Arduino and Medialon Manager. Prerequisites include at least one o the
ollowing: DRAM b, DRAM b, DRAM a, DRAM a, DRAM a, DRAM
a, or permission o the instructor. Enrollment limited to eight. Open to non-TD&P
students with permission o the instructor. Eric Lin
David Gefen School o Drama –
[DRAM 429a, Revit for Theater Consultants This course explores the basics o
Autodesk Revit and Autodesk Build and their use in the planning and construction o
perorming arts buildings. Topics include architectural modeling and detailing, generat-
ing project deliverables, document management and model coordination, and amily
content creation. Open to non-TD&P and non-Drama students with permission o the
instructor. Not oered –]
[DRAM 429b, Theater Engineering: Overhead Rigging and Stage Machinery This
course introduces the basic concepts necessary to design overhead rigging and stage
machinery systems or perorming arts buildings. Topics include the role o the theater
consultant in the architectural design process; programming, designing, and budgeting
stage equipment; relevant standards and code requirements; and collaborating with
other design disciplines to successully integrate stage equipment and supporting inra-
structure into the final building design. Open to non-TD&P students with permission
o the instructor. Not oered –]
DRAM 439a, Architectural Acoustics This course is both an introduction to the basic
principles and terminology o acoustics and a survey o the acoustics o perormance
venues, with an emphasis on theaters. Topics include physical acoustics, room acoustics,
psychoacoustics, electro-acoustics, sound isolation, noise and vibration control, and
measurement and simulation o the built environment. The goals are to urnish the
student with a background in acoustical theory and its practical application to peror-
mance spaces, and to instill the basics o recognizing and modiying aspects o the built
environment that determine acoustic conditions. Open to non-TD&P students with
permission o the instructor. Damian Doria
[DRAM 469b, Commercial Scenery Production This course examines the planning and
execution o scenery in shops servicing the Broadway theater and live event industries.
Topics include commercial industry overview, shop management, the bid process, design
and abrication techniques, theater installation, and planning or tours. Projects include
creating a bid estimate and a commercial tech design. Class ormat includes lectures,
guest presentations, and field trips to commercial shops in the NYC region providing
both observational and networking opportunities or students. Open to non-TD&P and
non-Drama students with permission o the instructor. Not oered –]
DRAM 489a/b, Costume Seminar This course provides the opportunity or in-depth
analysis and conversation among costume designers about the processes involved in
realizing a set o stage-worthy costumes. The class includes all students and technical
interns studying costume at the School. Using current production assignments as the
central ocus, we explore the translation o the design into realization through the build
and technical processes, including budgeting, sourcing, and shopping; interpreting the
rendering and research; selecting materials; fittings; and developing strong relationships
with the costume and production stas, other designers, stage managers, and directors.
We continually explore the implementations o strategies toward building a sustainable,
anti-racist, theater costuming practice. Ilona Somogyi, Christine Szczepanski
DRAM 529b, Theater Planning Seminar This course is a continuation o DRAM a,
ocusing on the renovation and rehabilitation o existing buildings or perorming arts
use through a term-long design project. Teams o students develop conceptual designs
or the reuse o a specific building, aer touring the building and conducting program-
ming interviews with potential users. The students’ design work is inormed by guest
lectures by architects, acousticians, historic preservationists, and other design and con-
struction proessionals. The design project provides students the opportunity to apply
the knowledge acquired in DRAM b, a, b, and a, although these courses
are not prerequisites. Prerequisite: DRAM a. Matt Welander, Eugene Leitermann
DRAM 549a/b, Independent Study Students who want to pursue special research or
the study o topics not covered by ormal courses may propose an independent study.
Following program approval o the topic, the student meets regularly with an adviser to
seek tutorial advice. Credit or independent study is awarded by the program, based on
the adviser’s recommendation. Tutorial meetings to be arranged. Faculty
DRAM 559b, Imagining an Anti-Racist Production Process This first-year TD&P
course uses readings, viewings, activities, and discussions to understand some o the
ways systemic racism and systemic oppression have influenced and continue to play out
in current theatrical production processes, the broader theatrical orm, and in theater’s
engagement with the community. All participants come into this course at dierent
points in the journey o both an understanding o anti-racism practices and an under-
standing o production practices. The course aims to demonstrate these are not mutually
exclusive endeavors. Students will explore topics and practice discussion tools that serve
not only uture conversations on race and oppressive practices but can also serve other
dicult conversations. The course hopes to cultivate a desire to lean in urther at the
end o the term as this is lie-long work. This course is about building community in
production in the service o a more just and equitable field. Prerequisite: artEquity’s
workshop, Everyday Justice: Anti-Racism as Daily Practice or another comparable training.
Open to non-TD&P and non-Drama students with the permission o the instructors.
Shaminda Amarakoon, Grace O’Brien
DRAM 659b, Facilitation for an Anti-Racist Production Process This course provides
training and practice in acilitating conversations on anti-racism and anti-oppression
in theater. Students work in teams to develop topics, resource materials, discussions,
and activities or the participants o DRAM b. Beyond content development, the
students practice skills useul in craing the container or dicult conversations. By
gaining comort with the uncomortable, students learn to support spaces or chal
-
lenging conversations aimed at improving our working environments. These skills and
experiences have become ever more essential to managers and leaders in the arts field.
Prerequisite: DRAM b or another drama course satisying the School’s Anti-racist
Theater Practice requirement. Open to non-TD&P students with the permission o the
instructors. Shaminda Amarakoon, Grace O’Brien
Technical Design and Production (M.F.A. and Certificate)
Technical Internship Training Program
Shaminda Amarakoon, Chair
Jennier McClure, Associate Chair
Within the TD&P program, David Geen School o Drama oers a one-year technical
internship training certificate or those seeking to become proessional scenic carpenters,
sound engineers, projection engineers, properties supervisors, scenic artists, costumers,
or production electricians. This certificate combines six graduate-level courses with
closely guided and monitored practical production work. Interns receive individual
attention, training, and supervision rom their program advisers and work side-by-side
with the School’s and Yale Repertory Theatre’s proessional sta.
Interns are required to successully complete two terms o the practicum course in
their chosen area o concentration, as well as one term o anti-racism training oered by
the program or School. An assigned aculty or sta adviser guides each intern in select-
ing five additional courses throughout the year. Interns may also audit one additional
course as well as participate in the TD&P Seminar course both terms. Most courses
oered as part o the program’s three-year M.F.A./Certificate program o study are
open to technical interns. The courses cover a wide range o topics, including: shop
technology, electricity, draing, properties construction, projection engineering, sound
technology, scene painting, costume construction, patternmaking, rigging, and theater
saety. Interns are encouraged to consider courses rom the Design program as well. In
addition to practicum and course work, interns may be assigned one or two proessional
work assignments (PWAs) in their area, giving them some technical design, production
planning, and management experience.
Those who successully complete the program o study receive an Internship Certifi-
cate during the School’s May commencement ceremonies. Some interns decide to apply
and then, i accepted, subsequently enroll in one o the three-year M.F.A./Certificate
programs o study—typically Technical Design and Production or Design—sometimes
receiving credit toward the degree or requirements already completed. Other interns
choose to apply or a second one-year internship in the same or dierent discipline.
Those who choose to enter the job market receive assistance rom the program chair
and aculty supervisors. Our alumni provide many job opportunities or proessionally
trained theater technicians.
:
Class o
2023–2024
Course Subject
DRAM a/b Internship Practicum
DRAM b Imagining an Anti-Racist Production Process*
Five electives (three in the all, two in the spring )
DRAM a/b, TD&P Seminar (optional)
One additional elective as an audit per term (optional)
*Second-year interns do not need to repeat DRAM b and can take a third elective in the spring.
Anti-Racist Theater Practice Requirement
Technical Interns are required to enroll in DRAM b, Imagining an Anti-Racist
Production Practice, in their first year in order to ulfill the School’s anti-racist theater
practice requirement. Combined with the prerequisite workshop, Everyday Justice:
Anti-Racism as Daily Practice, this course oers vital strategies or the lielong develop-
ment o individual and communal anti-racist practice.
Elective Sequence
Electives are determined in consultation with a aculty adviser and allow each student
reasonable flexibility in selecting courses in the student’s chosen area o concentration.
Technical interns are encouraged to work in all capacities at the Yale Cabaret; however,
this participation is understood to be in addition to and in no way a substitution or
required program work. No intern with an Incomplete and no intern on academic warn-
ing may participate in the Yale Cabaret in any capacity.
See course listings and descriptions under Technical Design and Production (M.F.A.
and Certificate). Additional courses in the Design program are also available. Courses
in other programs in the School, or in other departments and schools at the University,
may be considered, subject to scheduling and adviser approval.
DRAM 9a/b, TD&P Seminar See description under Technical Design and Production.
DRAM 99a/b, Internship Practicum This course provides practical work in the intern’s
area o concentration, with experience in the dierent elements and phases o the the-
atrical production process. Interns train on tools, soware, and processes as required
or each production. Additional training beyond production needs is also possible aer
consulting with aculty or sta advisers. Open only to those in the Technical Internship
Training Program. Shaminda Amarakoon and aculty
DRAM 559b, Imagining an Anti-Racist Production Process See description under
Technical Design and Production.
Technical Internship Training Program
Theater Management (M.F.A.)
Joan Channick, Chair
The Theater Management program prepares aspiring managerial and artistic leaders to
create inclusive organizational environments avorable to theatrical creation, supportive
o artists and other theater workers, conducive to collaboration, and responsive to their
communities. Individually and collectively, we are committed to implementing and
practicing anti-racism and anti-oppression in our workplaces and our classrooms. We
strive to model equitable policies and practices.
The program provides students with the knowledge, skills, experience, and values to
enter the field at high levels o responsibility, to move quickly to leadership positions, and
ultimately to advance the state o management practice and the art orm itsel. Although
the ocus is on theater, many graduates have adapted their education successully to
careers in dance, opera, media, and other fields.
In the context o an integrated general management perspective, students are
grounded in the history and aesthetics o theater art, production organization, hiring
and unions, the collaborative process, decision-making and governance, organizational
direction and planning, motivation, organizational design, human resources, financial
management, development, marketing, and technology. While ocused primarily on
theater organizations, discussions incorporate other perorming arts organizations,
other nonprofits, and or-profit organizations to help identiy the actors that make
organizations succeed. It is training in the practice, inormed by up-to-date theoretical
knowledge.
The training combines a sequence o proessional work assignments, program
courses, electives in other programs and schools, topical workshops, and a case study
writing requirement. In a distinctive eature o the Theater Management curriculum,
students have the opportunity to engage in the management o Yale Repertory Theatre
rom the beginning o their training, and to collaborate with students and aculty rom
other programs in productions o David Geen School o Drama and Yale Cabaret.
Students participate actively in setting objectives or their own growth, as well as in
assessment o their proessional development.
Extracurricular participation in the Yale Cabaret is encouraged, subject to prior
notification o the program chair.
-
Theater Management oers a joint-degree program with Yale School o Management, in
which a student may earn both the Master o Fine Arts and Master o Business Adminis-
tration degrees in our years (rather than the five years that normally would be required).
A joint-degree student must meet the respective admission requirements o each school.
The typical plan o study consists o two years at David Geen School o Drama, ollowed
by one year at the School o Management, culminating with one combined year at both
schools. Candidates interested in the joint-degree option are advised to apply to both
Schools beore coming to Yale. Theater management students who develop an interest in
the joint-degree option while at Yale should apply to the School o Management during
their first year or, at the latest, by October o their second year. Regardless o the outcome
o their application, they must inorm the program in January whether they will be in
residence in David Geen School o Drama in the succeeding year.
:
In the first two years, the student enrolls in a sequence o required courses, electives,
and topical workshops; researches and writes a case study on a theater or other arts
organization; and is given several proessional work assignments. In another distinctive
eature o the program, the second-year student has the option o replacing one term
in residence with a ellowship in a proessional setting away rom campus, selected in
conjunction with the aculty.
In the third year (or ourth, i applicable) the student enrolls in a minimum o our
reequired and elective courses per term, attends a variety o topical workshops (seven
sessions count as the equivalent o one course), and is given one or two proessional work
assignments o substantial responsibility.
Year one
Course Subject
DRAM ()a Toward Anti-Racist Theater Practice in Theater Management
DRAM a and/or b Survey o Theater and Drama
DRAM a Theater Organizations
DRAM a Founding Visions
DRAM a Business Writing or Theater Managers
DRAM a Financial Accounting
DRAM a/b Functions o Leadership
DRAM a Human Resources: Supporting People and Building Culture
DRAM b Strategic Planning
DRAM a Principles o Marketing and Audience Development
DRAM b Law and the Arts
DRAM b Principles o Development
DRAM b Financial Management
DRAM b Managing the Production Process
DRAM Workshops*
Years two, three, and four (if applicable)
Course Subject
DRAM a or b Case Study
DRAM a Governance
DRAM b Labor and Employee Relations
DRAM b Advanced Topics in Marketing and Branding
DRAM a or b Management Fellowship
Theater Management (M.F.A.)
David Gefen School o Drama –
DRAM a Advanced Topics in Development
DRAM b Advanced Financial Management
DRAM a/b Management Seminar
DRAM Workshops*
*A total o seven workshop sessions in a term may be counted as the equivalent o one course.
Anti-Racist Theater Practice Requirement
During the all term o their first year, theater management students are required to
enroll in DRAM ()a, Toward Anti-Racist Theater Practice in Theater Management,
in order to ulfill the School’s anti-racist theater practice requirement. Combined with
the prerequisite workshop, Everyday Justice: Anti-Racism as Daily Practice, this course
oers vital strategies or the lielong development o individual and communal anti-
racist practice. All students in the program are also encouraged to participate in the ten
Community Days oered each year, which include School-wide and Theater Manage-
ment programming.
Theater History Requirement
Theater management students ulfill the School’s two-term theater history requirement
during their first year by enrolling in one term o DRAM , Survey o Theater and
Drama, and DRAM a, Founding Visions. Students may take an additional term o
DRAM and other theater history courses as electives.
Elective Sequence
Electives may be selected rom other programs o the School, rom Yale School o
Management or other proessional schools, or rom Yale College with the approval o
the chair.
DRAM 3(08)a, Toward Anti-Racist Theater Practice in Theater Management This
course meets both within individual programs and across disciplines, with students and
aculty members as ellow learners, using readings, viewings, and discussions in pursuit
o these goals: to identiy the roots and branches o racism and white supremacy in the
structures and practices o theater making in the United States, including at David Ge-
en School o Drama and Yale Repertory Theatre; to interrogate where the practices do
harm and hinder; and to invest in the uture by inviting students and aculty to imagine
and upli systems and cultures that do not depend upon or promote supremacy, to build
a more just and equitable field. The Theater Management program will approach these
issues through the lens o theater leadership. Aleta Staton
DRAM 6a and/or b, Survey of Theater and Drama See description under Dramaturgy
and Dramatic Criticism.
Theater Management (M.F.A.)
DRAM 11a, Theater Organizations It can take a village to make theater in America:
artists, audiences, and donors or investors to name a ew. In addition, time and resources
must be managed eectively to create exciting artistic content while achieving ecien-
cies when possible. Thereore, theater companies must consciously build and evolve
their organization to pursue their missions, achieve their strategic objectives, and enlist
stakeholders as productively as possible. The course explores the variety o organiza-
tional models in use today with an emphasis on the relationships between structure,
purpose, and management style; eective engagement o stakeholders; and regulations
and policies that organizations might adopt to govern and guide their operations. Each
student collects in-depth inormation about a particular organization and presents it
to the class. Open to non-Theater Management students with prior permission o the
instructor. Joshua Borenstein
DRAM 21a, Founding Visions This course is a study o idealism in the American art the-
ater. History is explored through the inspired and inspiring writings o visionaries and
pioneers, rom Jane Addams (Hull House, s) to Bill Rauch (Cornerstone, s).
Students encounter the letters, memoirs, and maniestos o such early figures as Jig Cook
and Susan Glaspell (Provincetown), John Houseman/Orson Welles (Mercury Theatre),
and Hallie Flanagan (Federal Theatre Project), and more modern leaders such as Margo
Jones, Zelda Fichandler, Joe Papp, Judith Malina and Julian Beck, Douglas Turner Ward,
Joseph Chaikin, Luis Valdez, Herbert Blau, Robert Brustein, Tyrone Guthrie, Charles
Ludlam, and others. The course also considers the challenges o sustaining and rein-
vigorating a theater’s undamental ideals, which oen dissipate with time and successive
leadership. Open to non-Theater Management students with prior permission o the
instructor. Joan Channick
DRAM 31a, Business Writing for Theater Managers This class helps theater managers
strengthen their writing skills to create clear, persuasive business documents based on
logic, evidence, and act. Key topics include ocus; support or each premise; writing
structure; and precise use o language, ree o flab. Class concentrates on succinct,
cohesive writing that leads readers logically to the author’s conclusion. When possible,
this class will share assignments rom other theater management classes during the term.
Throughout, this class looks at building the upcoming case study. Rosalie Stemer
DRAM 81a, Financial Accounting An introduction to corporate financial account-
ing concepts and procedures, with an emphasis on nonprofit application. Financial
statements are stressed throughout the course, while attention is paid to developing
procedural skills, including accounting controls. The basic financial statements are
introduced: balance sheet, income statement, and statement o cash flows. Accounting
or assets, liabilities, and net assets. Open to non-Theater Management students with
prior permission o the instructor. Nancy Yao
DRAM 111a, Functions of Leadership: Organizational Direction Management and
leadership are two dierent things, and managers must be capable o practicing both in
order to meet the increasingly complex challenges o modern theater organizations; the
required knowledge and skills operate side by side. The all term covers the first o three
essential unctions o leadership: establishing organizational direction through mission
David Gefen School o Drama –
and strategy. Open to non-Theater Management students with prior permission o the
instructor. Joan Channick
DRAM 111b, Functions of Leadership: Motivation and Organizational Design Man-
agement and leadership are two dierent things, and managers must be capable o
practicing both in order to meet the increasingly complex challenges o modern theater
organizations; the required knowledge and skills operate side by side. The spring
term covers the second and third unctions o leadership: securing the essential eorts
through eective motivation and productive management o change; and establishing
appropriate means o communication through organizational design, including decision
making and management o culture. Emotional intelligence is a key concept. Prerequi-
site: DRAM a. Joan Channick
DRAM 121a, Human Resources: Supporting People and Building Culture The greatest
asset o any theater company is its people. This course examines the tools needed to
be an eective theater leader and ocuses on employee experience and culture; equity,
diversity, inclusion, and belonging; recruiting, hiring, and onboarding; compensation;
benefits; legal issues; perormance management; recognition; and learning and develop-
ment. The course considers the present and evolving practices o human resources in the
American theater. Open to non-Theater Management and non-Drama students with
prior permission o the instructors. Trinh DiNoto, Florie Seery
DRAM 121b, Strategic Planning This course ocuses on the planning process and the
myriad orms it takes within arts organizations. Various concepts important to planning,
including mission, strategy development, and alignment, are reviewed. However, most
o the work takes the orm o answering the question, “How do we do this aspect o
planning?” Sessions consist o case studies, interactive discussion, and reading o arts
organizations’ actual plans. Prerequisite: DRAM a. Lisa Yancey
DRAM 131a, Principles of Marketing and Audience Development This survey course
explores the undamentals o nonprofit theater marketing, communications, and audi-
ence development. Topics range rom high-level strategic components such as branding,
positioning, audience research, and budgeting (revenue and expense); to campaign
tactics including digital channels, direct marketing, traditional advertising, partnerships,
and publicity; to data-driven practices such as segmentation, campaign response data/
return on investment, and other key perormance indicators. Students develop a single-
ticket marketing plan. Open to non-Theater Management and non-Drama students with
prior permission o the instructor. Andrea Cuevas
DRAM 141b, Law and the Arts An examination o the legal rights and responsibilities o
artists and artistic institutions. Topics include the law o intellectual property (copyright
and trademark), moral rights, personality rights (deamation, publicity, and privacy),
and reedom o expression. The course is also an introduction to the structure and lan-
guage o contractual agreements, and includes discussion o several types o contracts
employed in the theater. Other legal issues relating to nonprofit arts organizations may
also be discussed. Open to non-Theater Management and non-Drama students with
prior permission o the instructor. Joan Channick
Theater Management (M.F.A.)
DRAM 151a or b, Case Study An applied writing project in collaboration with a aculty
supervisor. The student ocuses on a particular theater organization approved by the
program chair, by gathering inormation, conducting interviews, analyzing a dicult
issue the organization aces, writing a case study with video supplement, and writing
a teaching note. The work begins during the student’s first year, and the written case
study must be completed by the end o the student’s second year. Additional financial
aid unds are provided to cover one month o living expenses during the summer aer
their first year o study to allow or travel and research related to the case study. Joan
Channick, Deborah Berman, Joshua Borenstein, Kelvin Dinkins, Jr., Naomi Grabel,
Andrew Hamingson, Carla L. Jackson, Florie Seery, Sally Shen, Lisa Yancey, Nancy Yao
DRAM 161b, Principles of Development This introductory course explores the
elements and best practices or managing a successul not-or-profit development
department. Discussions delve into the responsibilities and practical applications o
development—identiying, stewarding, cultivating, and soliciting gis rom annual to
capital campaigns. Thorough, practical exploration o board development, institutional
identity, proposal development strategies, and solicitation techniques is included.
Students are introduced to all aspects o the development sectors: individual giving,
corporate sponsorship/philanthropy, government/legislative, oundations, and special
event undraising. Each student creates a hypothetical organization or use throughout
the term. An emphasis is placed on relationship development with potential unders.
Open to non-Theater Management and non-Drama students with prior permission o
the instructor. Andrew Hamingson
DRAM 181b, Financial Management The objective o this course is to prepare students
to use financial inormation or management decisions. Topics include creating and
understanding financial statements, developing and reporting on operating and capital
budgets, financial analysis and planning, and cash flow. Students apply their learning
using the current financial documents o theaters and perorming arts groups or many
o the assignments. Prerequisite: DRAM a or, with prior permission o the instructor,
equivalent nonprofit accounting knowledge. Joshua Borenstein
DRAM 191b, Managing the Production Process An investigation o the relationship
between the artistic director and the managing director. This course explores the role
o a managing director in the production process o regional theater, including season
planning, artistic budgeting, contract negotiations, artist relationships, and production
partnering. Open to non-Theater Management and non-Drama students with prior
permission o the instructor. Florie Seery
DRAM 211a, Governance This course examines governance within arts and cultural
organizations with a strong emphasis on its practice, as well as how that practice can be
managed and adjusted. The first part o each class consists o interactive presentations
using real examples rom multiple organizations in the field, or case work ocused on one
particular company. The second part is a laboratory in which students use the concepts
learned to prepare and present their findings to the rest o the class. Open to non-Theater
Management and non-Drama students with prior permission o the instructor. Nancy
Yao
David Gefen School o Drama –
DRAM 221b, Labor and Employee Relations A course on how to read collective bargain-
ing agreements and think about the collective bargaining process in the not-or-profit
theater, along with negotiation o the agreements and practice under them, through the
study o the agreements between the League o Resident Theatres and Actors’ Equity
Association, the Stage Directors and Choreographers Society, and United Scenic Artists.
Students become amiliar with LORT’s bargaining history with AEA, SDC, and USA,
as well as select nonprofit theaters’ agreements with other theatrical labor unions. The
class explores various schools o thought on best practices or labor management rela-
tions and the context within which nonprofits and LORT relationships are operating
today. The class uses as case studies provisions that govern media and electronic rights to
examine bargaining strategies and approaches—successul and compromised—aimed at
achieving management goals o securing more flexibility, decreased costs, and expanded
capacity to capture and exploit content. Open to non-Theater Management students
with prior permission o the instructor. Laura Penn
DRAM 231b, Advanced Topics in Marketing and Branding This course ocuses on
brand development and institutional communications, with an emphasis on data tools
and analysis, industry trends, pricing, and messaging. Various strategies and tactics are
explored using case studies, articles, reerence books, and visits rom industry specialists.
Students complete a brand evaluation and recommendation at the end o the course.
Open to non-Theater Management and non-Drama students with prior permission o
the instructor. Naomi Grabel
DRAM 251a or b, Management Fellowship Each second-year student in good standing
may choose to replace one term in residence with a ellowship in a proessional setting
away rom campus, selected by the aculty. The ellowship replaces one required program
course, our electives, and a term-long proessional work assignment. The purpose o
the ellowship is to pair the student with a successul manager in the field who acts as a
mentor. Ideally, the ellowship consists o requent meetings with the host mentor; the
opportunity to shadow the mentor as they conduct business within the organization, in
the local community, and in the national field; access to board and sta meetings; and
assigned tasks to perorm within the organization. Additional financial aid unds are
provided to oset living expense costs during the ellowship term. The ellowship and
case study requirement (DRAM a or b) may not be combined. Joan Channick
DRAM 261a, Advanced Topics in Development A series o topics are discussed in
great depth, including corporate sponsorship, board diversification, board recruitment
techniques, major gi cultivation strategies, real estate project development, develop-
ment department management, leadership transitional undraising, capital campaign
planning and implementation, and solicitation techniques. Students ocus on an actual
perorming arts organization to model their assignments. The emphasis in the course is
on the importance o planning, creativity, and innovation in the field o development.
Prerequisite: DRAM b. Andrew Hamingson
DRAM 271a, Producing for the Commercial Theater This course ocuses on the un-
damentals o commercial producing on Broadway. Among the topics to be covered: why
produce commercially; who produces; Broadway and O-Broadway; the relationships
Theater Management (M.F.A.)
between commercial producers and nonprofits; and ethical issues in a commercial set-
ting. Practical matters covered include optioning and developing work, raising money,
creating budgets, and utilizing marketing/press/advertising to attract an audience. Open
to non-Theater Management and non-Drama students with prior permission o the
instructor. Joey Parnes
DRAM 281b, Advanced Financial Management This course ocuses on advanced finan
-
cial management topics to urther develop students’ interpretive financial skills. Topics
include capital structure, financial analysis, financing and debt, investments, endow-
ments, planning to achieve financial goals, and managing through financial diculties
(raud, internal controls, bankruptcy). Prerequisite: DRAM b. Harold Wolpert
DRAM 301a/b, Management Seminar An upper-level seminar sequence designed to
integrate knowledge and skills gathered rom all courses and proessional work through
analysis and discussion o case studies. Third- and ourth-year Theater Management
students may take one term in their third year and one term in their ourth year. Prerequi-
site: DRAM a. Carla L. Jackson, Kelvin Dinkins, Jr., Roberta Pereira, David J. Roberts
DRAM 331b, Managing Crisis and Recovery This course explores diverse topics in crisis
and change management in arts and cultural organizations. Through class discussion,
case studies, assigned readings, group projects, and guest lectures, students investigate
various crisis and change management practices as well as responsive strategic planning.
The emphasis in this course is on the lived experiences o those directly involved in and/
or responsible or developing a crisis response and management plan. Students apply
their learning using these experiences o arts and culture leaders to develop undamen-
tal principles o creative problem solving and adaptive capacity. Open to non-Theater
Management students with prior permission o the instructor. Kelvin Dinkins, Jr.
DRAM 341a/b, Independent Study Students who want to pursue special research,
independent projects, or the study o topics not covered by the Theater Management
curriculum may propose an independent study. Following program approval o the
topic, the student meets regularly with a aculty adviser to seek guidance and to report
on progress. Faculty
DRAM 351b, Responsive Arts Responsive arts support dialogue and development o
nuanced and equitable relationships across intersecting cultures. The course introduces
this approach to utilizing radical inquiry to answer questions about what uture arts
practices might look like, what they might mean, and what their impacts on the public
might be. Students explore the theory and practice o collective cultural production
designed to research and generate artistic programming that expands an institution’s
capacity to respond to stakeholders, new rontiers o audience participation, and new
and hybrid skills, practices, and aesthetics that support meaningul and consequential
public communication. Garth Ross
[DRAM 361a, Artistic Producing Students immerse themselves in the understanding
and unction o the artistic producer. This course explores producing in the context o the
nonprofit theater, investigating producing through our distinct but equally important
pillars: artistry, leadership, acilitation, and advocacy. Students discuss and evaluate how
David Gefen School o Drama –
these pillars serve the art-making process and create the conditions that allow artists
to do their work. Students tackle all this through the lens o their core values; values
shape the kind o artistic producer one becomes. Open to non-Theater Management
students with prior permission o the instructor. Enrollment limited to ten. Not oered
in –]
DRAM 371a, Identity-Specific Theaters The course explores the history, impact, and
current state o identity-specific theaters in the American theater ecology. Guest speakers
rom leading identity-specific theaters such as Arican American, Latinx, Asian American,
Muslim, disability community, or LGBTQ+ engage in dialogue with students on issues
o aesthetics, intersectionality, and social justice through art, as well as organizational
topics including historical unding patterns/access to resources; sustainability; equity,
diversity, and inclusion (EDI); and audience engagement; among others. Open to non-
Theater Management students with prior permission o the instructor. David J.Roberts
DRAM 381b, Human Resources Management: Recruiting and Managing Today “Peo-
ple are our most important asset.” This course approaches the management o people
rom a strategic perspective. While this course covers human resources management
(HRM) topics such as HR strategy, planning and recruitment, stang, training and
development, and other aspects o HRM, it considers the relationship between these
HRM practices, employee experience, and organizational eectiveness. In turn, this
course adopts an integrative approach. Thus, application o () knowledge rom previ-
ous coursework in strategy, management, accounting, finance, and operations; () work
experience; and () judgment, critical thinking, and creativity is important to students’
learning experience in this course. Prerequisite: DRAM a. Sarah de Freitas
Theater Management Program Topical Workshops
A total o seven workshop sessions in a term may be counted as the equivalent o one
course.
DRAM 411(02), Values-Based Planning (three sessions) At a moment o enormous
change, this workshop explores concepts o innovation, adaptability, value, and values
as a basis or planning and or imagining how the arts o the uture might be organized
and behave. Open to non-Theater Management students with prior permission o the
instructor. Faculty
DRAM 411(05), Advanced Business Writing for Theater Managers (our sessions in
spring) This workshop emphasizes techniques and best practices or writing the case
study, including refining the dilemma, organizing and structuring inormation, and suc-
cinctly stating the challenges the organization aces. When possible, students’ writing
or other theater management classes this term will become shared assignments. Rosalie
Stemer
DRAM 411(06), Case Writing (our sessions) In collaboration with case study supervi-
sors, this workshop ocuses on each student’s individual case study to strengthen the
writing, identiy essential components o the case, sharpen the dilemma, and structure
the case logically. Workshop also covers writing the teaching note. Students meet in
Theater Management (M.F.A.)
group and individual sessions. Rosalie Stemer
DRAM 411(07), Case Studies (two sessions) This workshop provides an introduction
to writing case studies suitable or classroom use. Among the topics discussed are ram-
ing case dilemmas, structuring case research, outlining the case narrative, and writing
introductions. The workshop consists o both lecture and in-class exercises. Faculty
DRAM 411(11), Entrepreneurship (our sessions) This workshop explores the meaning
and practice o entrepreneurship. Much o the time is spent on identiying challenges in
the field and how to develop projects or companies that might attack them. Open to non-
Theater Management students with prior permission o the instructor. Beth Morrison
DRAM 411(13), Risk Management and Safety Culture (two sessions) Management
and leadership are core elements to a successul organizational saety program. This
workshop looks at the building blocks o a successul saety program, discusses the
importance o a good saety culture, and oers insight into best practice. Open to non-
Theater Management students with prior permission o the instructor. Anna Glover
DRAM 411(21), Nonprofit on Broadway This workshop is devoted to an examination
o nonprofit/commercial partnerships, both in orm and substance. We look at Manhat-
tan Theatre Club’s evolution in this arena as a way o talking about non-recourse loans,
enhancement deals, ticket buys, wholly owned or-profit subsidiaries, and entirely sel-
produced or sel-controlled open-ended runs. Discussion includes technical topics such
as author’s royalties, subsidiary rights, and contracts with uture theaters. Consideration
is also given to marketing o works on Broadway using common methods but a not-or-
profit budget competing in a commercial marketplace. Students view videos o PSAs,
TV ads, institutional videos, and “snackable” videos or social media. The workshop
also examines the linkage between social media and advertising, along with the more
traditional methods o direct mail and some print advertising. Faculty
DRAM 411(27), Real Estate (two sessions) This workshop, including real-world and
lecture learning, provides an overview o what theater leaders will encounter when
pivoting rom planning to implementation and maintenance o capital projects. Topics
range rom selecting architects, contractors, owner’s representatives, and consultant
integration, to ongoing operations and maintenance literacy, as well as pop-up capital
works that artists encounter as producers. Open to non-Theater Management students
with prior permission o the instructor. Faculty
DRAM 411(28), Self-Marketing (two sessions) This workshop covers positioning
onesel or return to work in the field, preparation o résumés and cover letters, interview
techniques, use o reerences, negotiating a job oer, and other topics. Required or
final-year Theater Management students. Faculty
DRAM 411(29), Making the Ask Artistic directors, executive directors, managing direc-
tors, producers, and development proessionals all need to know the dynamics o asking
or money. In this two-part workshop, students learn how to identiy unding priorities,
assess a prospect’s interests, align them with a project, determine an appropriate ask
amount, select a venue or the meeting, and steer the discussion while staying open to
cues the prospect oers. We also discuss the steps to build confidence and prepare to
David Gefen School o Drama –
make one’s best presentation. Students assume leadership roles and practice making an
ask using scenarios influenced by real situations. Open to non-Theater Management
students with prior permission o the instructor. Deborah Berman
DRAM 411(30), Tessitura (our sessions) An introduction to using Tessitura as a
customer relationship module. Tessitura is used by many arts and cultural organizations
or ticketing, marketing, development, and data analysis. The workshop covers basic
ticket-selling unctions, as well as using marketing campaigns and data analysis to tell
the “story” o the patron’s relationship with Yale Repertory Theatre. Janna Ellis
DRAM 411(37), Cultural Policy (our sessions) Both a product and a process, cultural
policy provides rameworks or making rules and decisions inormed by societal relation-
ships and values. This workshop explores the dynamic ways in which arts and culture can
shape public policy in order to oster cultural democracy. Guest cultural producers and
case studies allow students to understand the interconnection o the arts with various
societal issues, their role in shaping potential solutions, and their role in developing
the leadership needed to bring change to their communities. Open to non-Theater
Management students with prior permission o the instructor. Gonzalo Casals
DRAM 411(43), Growth Mindset An introduction to concepts o adult development,
emphasizing the value o adopting a growth mindset rather than a fixed mindset.
Required or first-year Theater Management students. Joan Channick
DRAM 411(44), Overview of Theater Management Professional Development Sys-
tem Explores the premise behind deliberately developmental organizations. Reviews
the structure, assessment tools, and expectations or the Theater Management program’s
proessional development system. Required or first-year Theater Management students.
Joan Channick
DRAM 411(45), The Manager as Coach This workshop helps prepare students to
hold supervisory responsibilities in their second-year proessional work assignments.
Whereas the emphasis in the first-year workshops is on receiving eedback, this ses-
sion ocuses on delivering eedback, using a coaching model. Required or second-year
Theater Management students. Joan Channick
DRAM 411(46), Giving and Receiving Feedback Examines the role o eedback in adult
development. Topics include distinguishing among various types o eedback, recep-
tivity to eedback, and eective eedback techniques. Required or first-year Theater
Management students. Joan Channick
DRAM 411(47), Building a Deliberately Developmental Organization In preparation
or assuming organizational leadership roles in the field, students consider how to build
a deliberately developmental organization whose culture supports peoples’ growth
and encourages achievement o each individual’s ull potential. Required or final-year
Theater Management students. Joan Channick
DRAM 411(48), Creating a Personal Development Plan Considers how to recognize
and overcome one’s own immunity to change. Students create a personal development
plan or their tenure at DGSD and or their eventual return to the field. Required or
first-year Theater Management students. Joan Channick
Theater Management (M.F.A.)
DRAM 411(50), Aesthetic Values in a Changed Cultural Context (our sessions) This
workshop examines the relationship between the aesthetics, ethics, and economics o
nonprofit proessional arts organizations. It begins with a working definition o art as
“the way we share with one another what it means to be human,” and with the observation
that nonprofit proessional arts organizations in the United States (in the main, as a class
o institutions) have historically excluded many populations rom this sharing. Students
discuss the inherent aesthetic values o resident theaters in the United States—including
the historic context in which such values came to be institutionalized—and consider the
possibilities and consequences o changing policies and decisions in such areas as hiring,
programming, architecture, and governance in light o the changed cultural context.
How would artistic practices and policies o arts organizations need to change i the goal
were to oster a more democratic culture? Open to non-Theater Management students
with prior permission o the instructor. Diane Ragsdale
Training at David Geen School o Drama:
A Policy Overview
David Geen School o Drama consists o theater proessionals and students working
together in a conservatory setting. Training at the School includes classes and a range
o production experiences, rom readings to perormances at the School, Yale Repertory
Theatre, and Yale Cabaret. In our aspirational environment, dierent perspectives and
interests are welcomed and given consideration in the creation and modification o poli-
cies designed to provide the broadest and most supportive rameworks or a community
o more than our hundred individuals rom diverse backgrounds, whose teamwork
benefits rom certain detailed and shared understandings.
The common goal o School policies is to oster an equitable community with cogent
and—whenever possible—transparent procedures. Policies are designed to promote a
collaborative environment, in anticipation o inevitable and normal tensions and con-
flicts. For instance, certain legal privacy rights regarding medical conditions, student
records, and matters o employment, as well as other legitimate reasons or respectul
confidentiality, will militate against absolute transparency. Similarly, autonomy and
accountability are oen in tension: the School’s job is to guide the community to reason-
able pathways or individuals and teams to work together successully in all spaces and
activities.
The bulletin conveys major policies both o the School and o Yale University. David
Geen School o Drama policies are set by the deans in consultation with the chairs o
programs in all disciplines, aculty, sta, and students; in a collaborative spirit, policies
are subject to review at the end o each year based on eedback rom the community.
University policies are set by the Ocers in consultation with aculty, sta, and students
and are typically communicated by the Provost’s Oce.
In consideration o the continued impacts o COVID-, David Geen School o
Drama and Yale Repertory Theatre intend to continue in-person learning and production
in –. In accordance with the most updated public health guidance, modifica-
tions—including to the production schedule—may be required. Unless otherwise noted,
all sections pertaining to production work in this bulletin reer to a typical production
schedule and may be modified by the School or the – academic year. The
contents o this bulletin are subject to change throughout the academic year. Updates
will be sent via email and posted to the School’s website as applicable.
Students ollow the curriculum o the particular program into which they were admit-
ted. Each program in the School has a sequential series o requirements unique to its
discipline and designed to develop an advanced understanding o the student’s course
o study and the art o the theater.
Production activity is central to the training in all programs, eaturing significant engage-
ment opportunities at the School, Yale Repertory Theatre, and Yale Cabaret each season.
These productions aord ample opportunities to present student work to internal and
external audiences, complementing classroom instruction and allowing aculty to
observe and oer eedback to students regarding their progress in training.
David Geen School o Drama
David Geen School o Drama typically presents six plays in productions or which
tickets are sold to the general public. Three o these are selected in consultation with
the Directing program; three are new plays rom the Playwriting program, produced
in repertory at the end o the spring term. Additional productions within the School
include the Shakespeare Repertory Projects, new plays rom the Playwriting program,
and projects selected by the chair o the Acting program.
Yale Repertory Theatre
Y
ale Repertory Theatre, the internationally celebrated proessional theatre-in-residence
at David Geen School o Drama, is dedicated to the production o new plays and daring
interpretations o classics that make immediate connections to contemporary audiences.
Proessional assignments at Yale Rep are integral to training at David Geen School
o Drama. Together, the School and Yale Rep advance leaders in the practice o every
theatrical discipline. Students may be assigned work at Yale Rep within their own dis-
cipline as part o their curriculum. Students also may be assigned work-study positions
at Yale Rep within or outside their discipline. Yale Repertory Theatre operates under
an agreement between the League o Resident Theatres (LORT) and Actor’s Equity
Association (AEA), the Union o Proessional Actors and Stage Managers in the United
States. Yale Rep also works with members o the Stage Directors and Choreographers
Society (SDC), and the Scenic, Costume, Lighting, and Sound Designers in LORT
represented by United Artists Local USA-, IATSE (USA).
Yale Rep’s artistic programs include a our-play subscription series; its new play
program, the Binger Center or New Theatre, which supports the development and
production o new plays and musicals at Yale Rep and nationwide; and two Youth Pro-
grams: WILL POWER! and the Dwight/Edgewood Project. Yale Rep also partners with
Long Whar Theatre to host the True Colors’ Next Narrative Monologue Competition.
WILL POWER! is Yale Rep’s annual educational initiative, designed to oer middle
and high school students access to live proessional theater and provide educational
resources to deepen their understanding o the production they will see. Since Yale
Rep’s – season, WILL POWER! has served more than , Connecticut
students and educators. The Dwight/Edgewood Project (D/EP) is a community engage-
ment program o Yale Rep and David Geen School o Drama, or middle school-aged
students rom Barnard Environmental Studies Magnet School, a K– school located on
the edge o the Dwight and Edgewood neighborhoods in New Haven. The program
pairs sixth- and seventh-graders with mentors rom David Geen School o Drama to
write their own plays. The month-long program begins in late May, culminating in
Training at David Gefen School o Drama: A Policy Overview
David Gefen School o Drama –
ully produced plays perormed by the Yale mentors and presented or the New Haven
community in late June.
For more inormation about Yale’s Binger Center or New Theatre visit https://
yalerep.org/productions-programs/binger-center-or-new-theatre. For more inorma-
tion about Yale Rep’s Youth programs visit https://yalerep.org/productions-programs/
youth-programs.
Yale Cabaret
Yale Cabaret provides students a vital environment or exploration and student-selected
training opportunities within a wider range o material than can be accommodated in
classroom instruction. With its own student artistic and management leadership, report-
ing to a board o directors comprising students and aculty, the Cabaret presents work
that is entirely student-produced. It is the only area o production at the School where
students regularly move out o their primary discipline o study: actors direct, managers
act, and playwrights sing.
During the summer, Yale Summer Cabaret is the exploratory theatrical home or
David Geen School o Drama students. Like Yale Cabaret, it is student-run and inter-
disciplinary. Each season, a new artistic and management team has the opportunity to
shape the theater’s vision, while collaborating with an advisory board, local donors, and
the greater New Haven community.
The School has five work periods scheduled during the academic year. (See academic
calendar.) All students are expected to be in attendance during work periods and to be
engaged in production activity or other proessional work at the School or Yale Repertory
Theatre. Students with or without assignments should submit an absence request i they
intend to be away rom campus during these dates. Classes or other required academic
sessions may not be scheduled during the April through May work period.
The community and particularly the administration attempt to avoid scheduling conflicts
between the requirements o the various programs and activities, making judgments in
keeping with the School’s mission and values. From time to time, such conflicts do occur.
Should such a conflict arise, students are responsible or discussing the conflict with their
program chair. In the event the conflict cannot be resolved by mutual agreement among
the aected parties, activities shall be prioritized as ollows and or the ollowing reasons:
. Yale Repertory Theatre work, rehearsal, and perormance calls as specifically detailed
by production management, stage management, and/or the work-study supervisor.
This priority is a gesture o respect to guest artists and an acknowledgment o our
obligation to support with dignity the level o aspiration and dedication or which we
have recruited them to Yale, as well as a sign o our commitment to engage the widest
possible audience in the Greater New Haven community.
. David Geen School o Drama classes, Monday–Friday, a.m.–: p.m. With
limited exceptions as described above, in-person attendance at class and completion
Training at David Gefen School o Drama: A Policy Overview
o assigned coursework is the most important consistent practice leading to students’
progress in training.
. Publicly perormed productions o the School to which tickets are sold. Production
is also a vital component o training: ambitious work requires our attention, and we
all benefit rom the exchange o spirit with audiences who are prepared to invest in
shared experience.
. Other assigned production projects (acting projects, new plays, Shakespeare Reper-
tory Projects, etc.). These shows have significant pedagogical value and also connect
us to local audiences.
. Required work-study other than Yale Rep rehearsal and perormance calls covered in
. above. These calls support the mission o the School and Yale Rep, redounding to
the benefit o the community as a whole.
. Yale Cabaret productions, which are extracurricular, while also engaging a public
audience.
. Any ormally approved outside work, anity group meetings, events, or produc-
tions, and elective work-study.
A comprehensive production calendar is issued at the beginning o the academic year.
Exceptions to the priorities do not set precedent. Work-study hours missed as a result o
a resolution occurring outside o the priority order above are not eligible or conversion,
should the student otherwise be qualified.
-
The School and the University at large oer a variety o wellness resources to support
students in developing personal wellness strategies.
David Geen School o Drama’s nonclinical counselor, Krista Dobson (krista.
[email protected]), is a licensed proessional counselor who supports students at the
School, as well as at the Schools o Architecture and Art, with short-term mental health
and wellness needs including, but not limited to, development o strategies related to
time and stress management, conflict resolution, social and cultural belonging, and
sel-care. Students are encouraged to contact Krista directly to request an appointment.
Short-term support includes approximately two to five appointments. Students with
long-term and/or clinical mental health needs will be reerred to Yale Mental Health and
Counseling Services with Krista’s support.
For more inormation about additional wellness resources visit https://yalewell.
yale.edu as well as the Yale University Resources and Services chapter o this bulletin
or health, wellness, cultural, spiritual, and recreational resources. Students are also
encouraged to explore wellness resources available through the Good Lie Center at Yale
(https://goodliecenteratyale.com).
Responsible sel-care is the starting point or wellness and learning. Particular consider-
ation should be given to one’s own health and well-being. Regular attendance at sched-
uled classes, production assignments, rehearsals, required work-study assignments,
required workshops, and School meetings is a vital practice or students to remain in
David Gefen School o Drama –
good standing. Unexcused absences and/or persistent unexcused lateness are behaviors
subject to disciplinary action.
Clear and timely communication also supports the community’s well-being. Students
whose health needs, including medical appointments, require them to miss or be late
or class should alert their proessors by email, copying their program’s chair and senior
administrative assistant. Students will still be responsible or the work missed, on a
schedule determined by the proessor.
Requests or absences that will require a student or technical intern to miss multiple
classes and/or required work-study must be made in advance, using an electronic absence
request orm available via DGSDino at your.drama (https://your.drama.yale.edu), list-
ing all classes, proessional assignment(s), and required work-study assignment(s) the
student or technical intern would miss during the requested absence. The completed
absence request is automatically transmitted to any aected supervisors or advisers.
There are cases where requests cannot be accommodated. I work-study clearance is
granted, then the program chair will determine whether or not to approve the absence.
I the chair approves the absence, the chair will communicate approval o the absence to
the student, to all relevant aculty members and supervisors, and to the stage manager
or any production in which the student is involved. Requests or absences that would
interere with existing academic work or work-study obligations will not be approved,
except in extraordinary circumstances. Work-study hours missed during a planned
absence are not eligible or conversion, should the student otherwise be qualified.
Rehearsal and perormance calls are posted each day. Lateness or these calls must
be reported to the individual in charge as soon as possible, but no later than thirty
minutes beore the call. Students must report illnesses or doctor’s appointments to their
program’s senior administrative assistant. Persistent lateness and/or unexcused absences
are considered unproessional behavior and may result in disciplinary action or dismissal
rom the School.
The School’s academic calendar includes our recess periods (see academic calendar)
when classes are not in session but some production and administrative work may need
to continue. Whenever a student is required to work during all or part o a School recess,
including summer recess, because o an assignment or either a School or Yale Repertory
Theatre production, or another proessional work assignment (PWA), the student is
eligible to be paid up to eight hours o Supplemental Recess Pay or each recess day the
student is required to be present. Compensation or such work is set at the prevailing
hourly work-study rate. Supplemental Recess Pay is only applicable or days a student is
called to work, not or days o or days that they are not called to work.
Should the assignment not require eight hours o work per day or or the entire recess
period, as determined by the program chair or program assignments and by the work-
study supervisor or work-study assignments, the student may be assigned additional
work in consultation with the student labor supervisor. Examples o assignments that
oen do not require eight hours per day or orty hours per week are: program assign-
ments such as lighting and sound designers and dramaturgs during the design phase;
production electricians and sound engineers during a build period; understudies during
Training at David Gefen School o Drama: A Policy Overview
perormance weeks; and work-study assignments such as ushers and electrics crew dur-
ing perormances and load-ins, respectively. In these circumstances, students are notified
o any additional assignments by the student labor supervisor as early as possible.
When a student is required to work during all or part o a School recess or a required
work-study assignment, the student is eligible or up to eight hours o pay or each recess
day the student is required to be present through a combination o both the work-study
assignment and Supplemental Recess Pay.
Supplemental Recess Pay is considered assigned work-study or the purposes o
conversion requests. Further detail and direction or this policy and practice are available
in the Work-Study Handbook.
David Geen School o Drama and Yale Repertory Theatre, like most proessional
theaters, must operate on a number o religious holidays, including some holidays on
which the rest o the University is closed.
Students whose religious belies impose restrictions on their availability or work,
either on religious holidays or at other times, must notiy their program chair and
Student Labor Supervisor C. Nikki Mills at the start o the academic year, so that their
religious needs can be considered in making production assignments, proessional work
assignments, and required work-study assignments.
Requests or absences rom class or religious reasons should be submitted using the
online absence request orm available at https://your.drama.yale.edu.
Each program assigns its students responsibilities in productions at the School and
Yale Repertory Theatre. Programs may change or eliminate assignments or individual
students depending upon the needs o the program. Unless otherwise announced, all
members o the company and production team on School productions are obligated to
strike the show.
Casting
All casting o student actors in productions at the School or at Yale Repertory Theatre,
including understudy casting, is assigned by the chair o Acting and approved by the
dean, based on the developmental needs o each student and on the needs o the project.
The student director on a project or production prepares a cast breakdown, which is
reviewed by the appropriate directing adviser beore submission to the Acting chair.
Student directors—or, in the case o the Carlotta Festival or Langston Hughes Festival
studio productions, the playwright, director, and dramaturg—then meet to discuss the
world o the play and share their production ideas with the Acting chair. The casting
pool or School productions and projects consists o those acting students who have
demonstrated proficiency in collaboration, proessional discipline, and reliability. A
student’s inability to maintain or display these practices in class, project, or production
circumstances may result in the removal o that actor rom the casting pool in order to
provide them with an opportunity to reacquire, strengthen, or expand these skills. Once
cast in a role, the student is required to ulfill that casting obligation.
David Gefen School o Drama –
Understudy Responsibilities
Understudy assignments at Yale Repertory Theatre and the School are treated seri-
ously because they create a humane environment or actors who are ill or have amily
emergencies while also advancing artistry and training in the community: learning
how to prepare, go on, and support someone who is going on, are key preparations or
proessional lie. Understudies are expected to be available, and in reasonable proximity
to the perormance venue, or any perormance at a moment’s notice. Unless at home
or at another posted rehearsal, understudies must inorm the stage manager o their
location prior to the perormance and be reachable by phone. Failure to be available to
perorm as an understudy is treated as a grave breach o proessionalism and may be
grounds or dismissal.
Yale Repertory Theatre and David Geen School o Drama maintain an open rehearsal
policy, so that students, interns, aculty, and sta may benefit rom observing artistic
processes. Nonetheless, a reasonable number o Yale Rep rehearsals may be closed due
to the needs o any particular company. Similarly, some School rehearsals may be closed,
with the permission o the chair o Stage Management—whenever possible—and with
notice posted in the daily call online and at the rehearsal hall. Thereore, the best practice
or visitors is to reach out in advance to stage management o any production one wishes
to visit: such courtesy also reduces the risk o arriving at a rehearsal that has been closed.
Rehearsals are normally scheduled rom : p.m. to p.m., Tuesday through
Friday, with earlier start times possible on Saturdays and during technical rehearsals.
Sunday is normally the day o. With advance notice and approval o the dean, directors
o major productions at the School may change the day o rom Sunday to Saturday.
Mondays may be used or fittings and other matters related to production, including
technical rehearsals.
The number o rehearsal hours or any given project is set by the Acting and Directing
programs. Actors are ordinarily called no more than six hours in one day or rehearsal
o a School production. Actors who are double cast cannot participate in Yale Cabaret
productions. A director may ordinarily rehearse a major School production no more
than six hours in one day. Directors and stage managers should cooperate with each
other to ensure that actors have reasonable breaks. The final week beore the opening o
a production may contain exceptions to these rules.
-
David Geen School o Drama and Yale Repertory Theatre together maintain an ambi-
tious academic and production calendar. The combination o pedagogical aspiration and
significant scope in production creates vital opportunities or training, both in a student’s
own discipline and across disciplines. Such opportunities are made possible, in part, by
students’ sharing responsibility or the varieties o work that support the classroom and
production experience or all.
Work-study reinorces the School’s values by giving all students paid responsibility
or participation in artistic, production, and administrative work in accordance with the
mission o the School and Yale Repertory Theatre.
Training at David Gefen School o Drama: A Policy Overview
Thereore, every student and technical intern in the School (except or D.F.A. stu-
dents, special students and special research ellows) is required to ulfill a minimum
number o work-study hours. For the – year, we expect all students and interns
will work a minimum o assigned work-study hours. The deans, in consultation
with the work-study committee and program chairs, set the number o hours devoted
to required work-study jobs according to the needs o community. The student labor
supervisor makes all required work-study assignments in consultation with each pro-
gram chair.
Occasionally, based on the needs o the School and Yale Rep, it is possible that some
students may be assigned more than hours o work-study. This will be communi-
cated to the student by the student labor supervisor via the assignments tab at https://
your.drama.yale.edu/.
In addition to assigned work-study, a number o elective work-study opportunities
are available at the School, Yale Repertory Theatre, and Yale Cabaret. Elective work-study
hours are exclusively supplemental: they cannot be substituted or assigned work-study
hours.
Students are required to be appropriately dressed or the work-study tasks at hand
including required personal protective equipment (PPE) such as steel-toed work
shoes, as communicated by the work-study supervisor. Failure to complete assigned
work-study, outside o excused absences, is considered a breach o proessionalism and
may lead to academic warning or dismissal. Work-study hours missed rom an absence,
tardiness, delay o I- completion, or conflict resolution outside o the prioritized list are
not eligible or conversion, should a student otherwise be qualified.
For financial aid implications o the work-study requirement, please reer to the
chapter Financial Aid Policy.
Students in all programs are encouraged to involve themselves in the Yale Cabaret,
and while doing so, must avoid the creation o conflicts with any other responsibili
-
ties, including () Yale Repertory Theatre work, rehearsal, and perormance calls; ()
David Geen School o Drama classes, Monday–Friday, a.m.–: p.m.; () publicly
perormed productions o the School to which tickets are sold; () other assigned pro-
duction projects (acting projects, new plays, Shakespeare Repertory Projects, etc.; and
() required work-study other than Yale Rep rehearsal and perormance calls covered
in () above. Conflicts with these priorities will not be resolved in avor o the Cabaret.
Thereore, students are responsible or consulting closely with the Cabaret leadership
to ensure the scope o their commitment is without such conflicts: ailure to do so may
result in academic warning or dismissal. Given the complexity o student schedules,
approval rom the chairs o the ollowing academic programs is required in advance
beore a student commits to participation in the Yale Cabaret: Directing and Acting. To
urther ensure conflict does not occur, interested participants are encouraged to confirm
their assignments with Student Labor Supervisor C. Nikki Mills beore committing to
a Cabaret project. No student on academic warning in any program may participate in
the Cabaret.
David Gefen School o Drama –
David Geen School o Drama is a mission-driven collaborative community that
depends or its highest aims and best outcomes on students’ attendance both to their
own progress and to that o their colleagues, including aculty and sta. Thereore, the
School discourages students rom pursuing outside paid or unpaid proessional work at
the expense o their obligations to the community. All programs require preparation or
and attendance at classes, rehearsals, work calls, and other significant events. Students in
good standing who are considering outside job oers should consult with their program
chair and must receive written approval rom their program chair and the dean beore
committing to any outside work. I approved, written confirmation o approval and the
details o the commitment will be shared with the student labor supervisor. Elective
participation in work outside o the School, including work or the University, may be
substituted or assigned work-study hours at the School; consideration will be made
by the work-study committee and program chair. Measured and thoughtul plans or
outside work that are communicated to the program chair and dean with timeliness and
transparency are generally approved. Taking outside work without required approval is
regarded as a conflict o interest and may lead to academic warning or dismissal.
Students must register prior to the beginning o classes in the all. Students who cannot
attend the scheduled all-term registration must receive written permission rom their
program chair and notiy the registrar in advance. All international students are required
to complete a nonacademic registration with the Oce o International Students and
Scholars prior to the beginning o classes, in addition to the School’s registration.
All students must submit their course schedules to the registrar within one week o
the first day o classes o each term and are responsible or notiying the registrar o any
subsequent changes in their schedules.
Solid grounding in theater history is a oundation or lasting creativity. Thereore, all
Certificate in Drama and Master o Fine Arts candidates in the School are required
to ulfill their program’s designated two terms o theater history. Inormation about
individual program requirements is available in the section or each discipline in this
bulletin. Failure to complete these courses successully will prevent students rom meet-
ing the requirements or graduation. Students in need o course accommodations must
contact Student Accessibility Services (SAS) at .. or https://sas.yale.edu to
make an appointment. Reasonable accommodations are established in advance through
an interactive process between the student, the course instructor, and SAS.
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The development o anti-racist theater practice is central to the mission and values o
the School and Yale Rep, as well as our goals o advancing equity, diversity, inclusion
and belonging. Thereore, a core component o the curriculum or all students is an
introductory workshop led by aculty member Carmen Morgan and acilitators rom
Training at David Gefen School o Drama: A Policy Overview
artEquity. The workshop is titled Everyday Justice: Anti-Racism as Daily Practice and is
required or all students and ull-time benefitted aculty and sta. The workshop serves
as an introduction to key rameworks and strategies or the development o anti-racist
practice and is oered annually at orientation. Everyday Justice is also a prerequisite or
anti-racist practice coursework required in all academic programs at the School. Failure
to successully complete Everyday Justice and each program’s requirement will prevent
students rom meeting the requirements or graduation. Inormation about individual
program requirements in anti-racist theater practice is available in the section or each
discipline in this bulletin.
Developing methods or giving and receiving eedback on works in progress is central to
the curriculum o the School. Thereore, all first-year students and technical interns par-
ticipate in the Critical Response Process (CRP) workshop during their first year. Devised
by choreographer Liz Lerman in , CRP is a structured process or getting eedback
on works in progress as well as a source o tools or general communication and collabo-
ration. Applicable or all art orms, CRP is in broad use throughout North America and
Europe. In a workshop acilitated by aculty members Liz Lerman and Paloma McGregor
that combines conversation, demonstration, and participation, students and technical
interns will reflect on their experiences as givers and receivers o eedback and consider
the role o critique in various aspects o their work. The workshop provides an oppor-
tunity to practice CRP’s our steps and the ways it puts such values as meaning, agency,
inquiry, and consent into action while also considering the implications o those values
or our work on stage, in rehearsal halls, and in making or more just institutions. The
workshop will be scheduled by the School over two days during the spring term. Failure
to successully complete Critical Response Process will prevent students rom meeting the
requirements or graduation.
Since –, the academic calendar includes five days each term known as Com-
munity Days, where classes are suspended to allow or cross-program and/or all-school
activities. Each term, classes are suspended rom a.m.–: p.m. on one Monday, one
Tuesday, one Wednesday, one Thursday, and one Friday, to create time and space or
joyul community connection and more opportunities or interdisciplinary learning.
Historically, Community Day activities range rom all-school meetings, EDI Symposia
Series events, workshops and lectures, community-wide meals, and/or social gatherings.
Production work continues as scheduled on these days. Please see the academic calendar
or the listing o these dates. Programming updates will be sent via email to the com
-
munity at the start o each semester and updated throughout the year.
Each program develops its own course o study in consultation with the dean. The
advantage o a small institution lies in its ability to give personal attention; students
are encouraged to expand and broaden their course o study, which may encompass
David Gefen School o Drama –
assigned o-campus field trips and fieldwork, with the aid o the chair o their program.
A program may choose to vary specific requirements on an individual basis with the
approval o the dean.
David Geen School o Drama students may take courses or credit, audit, or the
Pass/Fail option at any o the other schools at the University with the approval o the
student’s adviser, program chair, and the course instructor. Students enrolling in courses
at other schools are subject to all policies and deadlines o both that school and David
Geen School o Drama. Outside courses are graded according to David Geen School
o Drama policy.
Auditors must receive permission rom the instructor beore enrolling as an auditor,
as not all aculty permit auditors in their classes. The minimum general requirement or
auditing is attendance in two-thirds o the class sessions; instructors may set additional
requirements or auditing their classes.
David Geen School o Drama courses are open only to students in the program
oering the courses, unless otherwise specified in this bulletin.
Except where noted, courses at the School are oered on a Pass/Fail basis. Grades are
posted at the end o each term to the student’s private Yale Hub student account at
https://yub.yale.edu. Students are responsible or reviewing their grades at the end o
each term. At the discretion o the instructor, courses in Stage Management and Techni-
cal Design and Production may be oered as Honors (–), High Pass (–), Pass
(–), Fail (below ), Withdrew Pass (WP), Withdrew Fail (WF). In Dramaturgy
and Dramatic Criticism, the comprehensive exam process and Criticism Workshop
courses are oered as: Honors+ ( and above), Honors (–), Honors- (–),
High Pass+ (–), High Pass (–), High Pass- (–), Pass+ (–), Pass
(–), Fail (below ), Withdrew Pass (WP), Withdrew Fail (WF). All other courses
in Dramaturgy and Dramatic Criticism will be oered on a Pass/Fail basis, though
students may request to be graded on the scale noted above.
Should a student ail to complete all required course work by the end o a term, an
instructor may give a grade o Incomplete. However, the student is required to complete
the remaining course work within one month o the end o the term. I, or good reason,
the student is unable to complete the course requirements during the allotted time, the
student may petition the instructor or an extension. I, aer the allotted time or the
period o extension, the course requirements are not met, the grade o Incomplete will
be converted to a grade o Permanent Incomplete.
A student may withdraw rom a required course only with permission o the program
chair.
Students are evaluated on the basis o their application to training, development o cra,
academic and production perormance, and proessionalism, which in all disciplines is
characterized by commitment, integrity, reliability, communication, and collaboration.
Training at David Gefen School o Drama: A Policy Overview
The aculty shall regularly evaluate each student’s progress and standing. A student
who ails to meet all the requirements o the program and to progress appropriately in
the criteria noted above may be placed on academic warning or be dismissed at any time
despite having achieved passing grades in all course work. Academic warning is most
oen preceded by an inormal notice o academic concern by the student’s program
chair along with resources and support or improvement. I the academic concern is not
remedied, the student will be issued an academic warning. See sections on Notice o
Academic Warning and Grounds or Dismissal below.
For urther inormation on requirements specific to each program, careully reer to
program descriptions detailed in this bulletin.
Students who have satisactorily completed their course o study and have success-
ully ulfilled all non-classroom requirements o their program are recommended by
a majority vote o the aculty to receive the Certificate in Drama, M.F.A., or D.F.A.,
conerred by the President and Fellows o Yale University.
Notice o Academic Warning
Academic warning may be given to students when the aculty expresses serious reserva-
tions about the ability or willingness o the student to meet the requirements o the
student’s program when evaluated by the criteria noted above.
Notice o an academic warning to any student shall be given in a ormal meeting with
the dean, associate dean, or assistant dean, and the student’s program chair. The student
is encouraged to bring to the meeting a trusted aculty member or another adviser selected
rom the administration o the School. Following the meeting, the student receives writ-
ten confirmation o the student’s academic status, the reasons or the warning, and the
improvement and School support required or remediation within a defined time rame
to have this warning removed. Students on academic warning may not participate in the
Yale Cabaret. The vast majority o students who receive such warning are successul in
making the required adjustments and go on to complete the program successully.
Failure to remediate the academic warning within the time rame may lead to dis-
missal. See Grounds or Dismissal below.
Grounds or Dismissal
Students who, in the judgment o the program chair and the deans, are not achieving
appropriate standards o proessional practice in their art, cra, or discipline, or meeting
the requirements o their program when evaluated by the criteria noted above under
Evaluation, may be dismissed, whether or not they are on academic warning.
Serious breaches o David Geen School o Drama or Yale University policy, includ-
ing ailure to meet class requirements or program or required work-study assignments
(such as persistent lateness to and/or unproessional behavior in production, and the
like), may lead to immediate dismissal o a student who is not currently on academic
warning.
Once dismissed, a student is not eligible or readmission.
David Gefen School o Drama –
Satisactory Academic Progress
All David Geen School o Drama students who are receiving Title IV unds must meet
the stipulated policies and guidelines detailed above or Satisactory Academic Progress
(SAP). Title IV unds are ederal student aid unds, which are rom ederal student aid
programs administered by the U.S. Department o Education. Federal aid recipients are
required to be in good standing and to maintain SAP toward their degree requirements
each term in which they are enrolled. SAP is evaluated at the end o the all and spring
terms. Failure to maintain satisactory progress may result in the loss o financial aid
eligibility.
Students are expected to ollow a continuous course o study at David Geen School
o Drama. A student who wishes or needs to interrupt study temporarily may request
a leave o absence. There are three types o leave—personal, medical, and parental—all
o which are described below. The general policies that apply to all types o leave are:
. Leave o absence application orms are available rom the registrar’s oce at the
School.
. All leaves o absence must be approved by the appropriate program chair and the
dean. Medical leaves also require the recommendation o a physician on the sta o
Yale Health. See Medical Leave o Absence below.
. A student may be granted a leave o absence or one, two, or three terms. A student
is not normally granted a leave o absence to take on a proessional commitment.
. International students who apply or a leave o absence must consult with OISS
regarding their visa status.
. A student on leave o absence may complete outstanding work in courses or which
extensions have been granted. The student may not, however, ulfill any other degree
requirements during the time on leave.
. A student on a leave o absence is not eligible or financial aid, including loans; and
in most cases, student loans are not deerred during periods o non-enrollment.
. A student on a leave o absence is not eligible or the use o any University acilities
normally available to registered students.
. A student on a leave o absence is not eligible or coverage by Yale Health Basic or Yale
Health Hospitalization/Specialty Coverage. Coverage terminates the day the leave
is granted. In order to secure continuous coverage through Yale Health, a student
must request enrollment in Yale Health Aliate Coverage and pay the premium prior
to the beginning o the term or which the leave is taken. I a leave o absence is
granted during the term, the student must request Yale Health Aliate Coverage
enrollment within thirty days o the date the registrar is notified o the leave. Appli-
cations are available rom the Yale Health Member Services Department, Lock
Street (..), or can be downloaded rom the Yale Health website (http://
yalehealth.yale.edu). David Geen School o Drama will cover the cost o Yale Health
Aliate Coverage or students on medical leave, or up to three terms.
. A student on leave o absence does not have to file a ormal application or readmis-
sion. However, the student must notiy the registrar in writing o the intention to
Training at David Gefen School o Drama: A Policy Overview
return at least eight weeks prior to the end o the approved leave. In addition, i the
returning student wishes to be considered or financial aid, the student must submit
appropriate financial aid applications to the School’s financial aid oce to determine
eligibility. For returns rom medical leaves o absence, see Medical Leave o Absence
below.
. A student on leave o absence who does not return at the end o an approved leave,
and does not request and receive an extension by the student’s chair and the dean, is
automatically dismissed rom the School.
Personal Leave o Absence
A student who is current with degree requirements and wishes to interrupt study tem-
porarily because o personal exigencies may request a personal leave o absence. The
general policies governing leaves o absence are described above. A student is eligible
or a personal leave aer satisactory completion o at least one term o study. Personal
leaves cannot be granted retroactively, and normally are not approved aer the tenth
day o a term.
To request a personal leave o absence, a student must complete the orm available
in the registrar’s oce beore the beginning o the term or which the leave is requested,
explaining the reasons or the proposed leave, and stating both the proposed start and
end dates o the leave, and the address at which the student can be reached during the
period o the leave.
I the chair o the program finds the student to be eligible, and the dean approves,
the leave is granted. In any case, the student is inormed in writing o the action taken.
A student who does not apply or a personal leave o absence, or who applies or a leave
but is not granted one, and who does not register or any term, is considered to have
withdrawn rom the School.
Medical Leave o Absence
A student who must interrupt study temporarily because o illness or injury may be
granted a medical leave o absence with the approval o the appropriate program chair
and the dean, on the written recommendation o a physician on the sta o Yale Health.
The final decision concerning a request or a medical leave o absence is communicated
in writing rom the department chair and the dean.
The general policies governing leaves o absence are described above. A student who
is making satisactory progress toward degree requirements is eligible or a medical leave
any time aer matriculation. David Geen School o Drama will cover the cost o Yale
Health Aliate Coverage or students on medical leave, or up to three terms.
The School reserves the right to place a student on a mandatory medical leave o
absence when, on recommendation o the director o Yale Health or the chie o the Men-
tal Health and Counseling department, the dean o the School determines that, because
o a medical condition, the student is a danger to sel or others, the student has seriously
disrupted others in the student’s residential or academic communities, or the student has
reused to cooperate with eorts deemed necessary by Yale Health and the dean to make
such determinations. Each case will be assessed individually based on all relevant actors,
David Gefen School o Drama –
including, but not limited to, the level o risk presented and the availability o reasonable
modifications. Reasonable modifications do not include undamental alterations to the
student’s academic, residential, or other relevant communities or programs; in addition,
reasonable modifications do not include those that unduly burden University resources.
An appeal o such a leave must be made in writing to the dean o the School no later
than seven days rom the eective date o the leave.
An incident that gives rise to voluntary or mandatory leave o absence may also result
in subsequent disciplinary action.
A student who is placed on medical leave during any term has tuition adjusted accord-
ing to the same schedule used or withdrawals. (See Tuition Rebate and Reund Policy
in the chapter Tuition.) Beore re-registering, a student on medical leave must secure
written permission to return rom a physician at Yale Health.
Leave o Absence or Parental Responsibilities
A student who is making satisactory progress toward degree requirements and wishes
or needs to interrupt study temporarily or reasons o pregnancy, maternity care, or
paternity care, may be granted a leave o absence or parental responsibilities. Any
student planning to have or care or a child is encouraged to meet with the student’s
program chair and the dean to discuss leaves and other short-term arrangements. For
many students, short-term arrangements, rather than a leave o absence, are possible.
The general policies governing all leaves are described above. A student who is making
satisactory progress toward degree requirements is eligible or parental leave o absence
any time aer matriculation.
Students living in University housing units are encouraged to review their housing
contract and the related polices o the Graduate Housing Oce beore applying to the
School or a parental leave o absence. Students granted a parental leave may continue
to reside in University housing to the end o the academic term or which the leave was
first granted, but no longer.
Students and technical interns who wish to end their program o study should submit
the appropriate withdrawal orm to the registrar. Normally, a student or intern who
has chosen to withdraw is eligible to apply or readmission. A student or intern who is
asked to withdraw by the aculty, or is dismissed by the School, is not eligible to apply
or readmission. Reer to Eligibility Changes, under Health Services, in the chapter
Yale University Resources and Services, regarding Yale Health premium reunds, and
coverage, i applicable.
..
Students who wish or need to interrupt their studies to perorm U.S. military service
are subject to a separate U.S. military leave readmissions policy. In the event a student
withdraws or takes a leave o absence rom David Geen School o Drama to serve in the
U.S. military, the student will be entitled to guaranteed readmission under the ollowing
conditions:
Training at David Gefen School o Drama: A Policy Overview
. The student must have served in the U.S. Armed Forces or a period o more than
thirty consecutive days.
. The student must give advance written or oral notice o such service to the appropriate
dean. In providing the advance notice the student does not need to indicate an intent
to return. This advance notice need not come directly rom the student, but rather,
can be made by an appropriate ocer o the U.S. Armed Forces or ocial o the U.S.
Department o Deense. Notice is not required i precluded by military necessity.
In all cases, this notice requirement can be ulfilled at the time the student seeks
readmission, by submitting an attestation that the student perormed the service.
. The student must not be away rom the School to perorm U.S. military service or
a period exceeding five years (this includes all previous absences to perorm U.S.
military service but does not include any initial period o obligated service). I a
student’s time away rom the School to perorm U.S. military service exceeds five
years because the student is unable to obtain release orders through no ault o the
student or the student was ordered to or retained on active duty, the student should
contact the appropriate dean to determine i the student remains eligible or guaran-
teed readmission.
. The student must notiy the School within three years o the end o the U.S. military
service o the intention to return. However, a student who is hospitalized or recover-
ing rom an illness or injury incurred in or aggravated during the U.S. military service
has up until two years aer recovering rom the illness or injury to notiy the School
o the intent to return.
. The student cannot have received a dishonorable or bad conduct discharge or have
been sentenced in a court-martial.
A student who meets all o these conditions will be readmitted or the next term,
unless the student requests a later date o readmission. Any student who ails to meet
one o these requirements may still be readmitted under the general readmission policy
but is not guaranteed readmission.
Upon returning to the School, the student will resume education without repeating
completed course work or courses interrupted by U.S. military service. The student will
have the same enrolled status last held and with the same academic standing. For the
first academic year in which the student returns, the student will be charged the tuition
and ees that would have been assessed or the academic year in which the student le
the institution. Yale may charge up to the amount o tuition and ees other students are
assessed, however, i veteran’s education benefits will cover the dierence between the
amounts currently charged other students and the amount charged or the academic year
in which the student le.
In the case o a student who is not prepared to resume studies with the same academic
status at the same point at which the student le or who will not be able to complete
the program o study, the School will undertake reasonable eorts to help the student
become prepared. I aer reasonable eorts, the School determines that the student
remains unprepared or will be unable to complete the program, or aer the School
determines that there are no reasonable eorts it can take, the School may deny the
student readmission.
David Gefen School o Drama –
All candidates on whom degrees or certificates are to be conerred must be present at
the Commencement exercises unless excused or urgent reasons by their program chair
with the approval o the dean. Requests to be excused rom Commencement must be
submitted by May , .
The registrar o David Geen School o Drama maintains academic transcripts o current
and ormer students. Transcripts are issued by the registrar only by written request rom
the student or ormer student, and only i the student has no outstanding debts to the
School or the University. Students may review their grades posted on their Yale Hub
student account at https://yub.yale.edu. Students may order ocial transcripts directly
through the School’s transcript provider, Parchment.
The registrar o David Geen School o Drama maintains academic records on each
enrolled student. The ollowing types o academic records are maintained: the application
or admission and supporting documents such as standardized test scores, transcripts o
undergraduate or other prior study, and letters o recommendation; registration orms,
grade reports, course schedules, petitions filed by the student, and any other documents
or correspondence pertaining to the student’s academic work or status within the School.
The Family Educational Rights and Privacy Act (FERPA) o , also known as the
Buckley Amendment, governs access to the academic records. The current FERPA policy
statement can be ound at https://registrar.yale.edu/rights-privacy/student-rights-
under-erpa. The statement has two chie purposes: the first is to describe the nature o
a student’s right to review the student’s educational record; the second is to describe the
University’s policy o confidentiality in the maintenance o student records.
David Geen School o Drama is committed to the protection o ree inquiry and
expression in the classroom and throughout the school community. In this, the
School reflects the University’s commitment to and policy on reedom o expres
-
sion as stated in the Woodward Report (Report o the Committee on Freedom o
Expression at Yale, ). See https://studentlie.yale.edu/guidance-regarding-ree-
expression-and-peaceable-assembly-students-yale.
, ,
The purpose o this policy is to set orth expectations regarding the audio, video, and
photographic recording o classes, meetings, or other conversations at the School,
at School-sponsored events, or between members o our community. For policies
regarding theatrical production photos and perormance recordings, please reer to
Training at David Gefen School o Drama: A Policy Overview
the School’s Production Handbook, which is available at https://dgsdino.yale.edu/
handbooks-guides.
It is expected that aculty, sta, students, interns, and invited guests will respect the
privacy o other individuals in the workplace and in educational settings. Thereore,
the School prohibits the surreptitious use o audio, video, and photographic record
-
ing devices in its buildings and at any School-sponsored meetings, gatherings, and/or
events. Recording devices may only be used in an open, conspicuous manner so that it
is apparent to all parties that a recording is being made. This prohibition on surrepti-
tious recordings is intended to protect the privacy o community members and to avoid
inhibiting the ree exchange o ideas.
Planned recording o class sessions by aculty members must be communicated to
students in writing through the course syllabus. All students and other participants in
a class or educational activity that will be recorded must be inormed o the recording
in advance. Recordings shall only be shared with students enrolled in the course and
will be deleted at the end o the course. Recordings shall not be publicly shared, such
as on the Internet or in public viewings, without the written consent o the instructor
and others being recorded. Students must obtain their instructors’ written permission
beore recording course content, such as lectures, discussions, presentations, critiques, or
perormances. Students seeking to record course content as a reasonable accommodation
or a disability must work with Student Accessibility Services to obtain permission to
record, and also agree not to disseminate the content.
All ocial photography and video recording o Yale Rep and School productions and
other campus activity will ollow the rules set orth by the Actors’ Equity Association
agreement. In addition, all students are expected to sign photo releases.
Photographs o every Yale Rep and DGSD production will be taken by a proessional
photographer during a designated dress rehearsal. In addition, the School routinely
schedules proessional photography and video recording o classes, rehearsals, and other
administrative and production work, in support o institutional communications, mar-
keting, and archival purposes. In accordance with the AEA agreement, at least twenty-
our hours’ notice is given or all photography and video work on campus whenever
possible.
All DGSD and YRT photography and video recording are arranged and archived
by the Marketing and Communications Department. Photo libraries are available to
students or portolio purposes throughout the year. For detailed inormation about
the production photography and video-recording policy, please reer to the Production
Handbook.
David Geen School o Drama and Yale Repertory Theatre (School/YRT) depend upon
respect and transparency as the basis or all collaborations and working relationships.
The School/YRT support and aim to oster an anti-racist, anti-oppressive, civil, respect-
ul, and open-minded culture so that all o us can live and work in an environment ree
o harassment, bias-motivated behaviors, and unair treatment. We strive to create a
psychologically sae environment in which to examine and dramatize topics that are
controversial, complex, and provocative.
David Gefen School o Drama –
The School/YRT expect all community members including employees, students,
sta, aculty, interns, guest artists, independent contractors, and visitors to rerain rom
actions or behaviors that intimidate, humiliate, or demean persons or groups or that
undermine their security based on traits related to race, ethnicity, country o origin,
religion, gender identity/expression, sexual orientation, age, disability, marital status,
veteran status, or other category protected by state or ederal law.
The School/YRT adhere to Yale University’s philosophy that all community mem-
bers should enjoy an environment ree o any orm o harassment, sexual misconduct,
discrimination, or intimate partner violence. While working and studying at, or visiting,
the School/YRT, all community members may make use o the University’s resources
available to prevent, report, and respond to sexual misconduct. An overview o poli-
cies, definitions, and resources is published in this bulletin and posted in each o our
buildings.
The School/YRT are committed to providing a working environment where com-
munity members are listened to and taken seriously. I you see or experience any orm o
discrimination, sexual harassment, or sexual misconduct, we encourage you to report it
immediately by ollowing the process below.
Resolution may take many orms including, i you eel comortable doing so, to first
directly address the individual(s) involved. This initial communication tactic helps to
oster an honest and open community.
How to Report Discrimination, Sexual Harassment,
or Sexual Misconduct to the School/ YRT
To make a ormal report o an incident o discrimination, sexual harassment, or sexual
misconduct to the School/YRT, you may contact your immediate supervisor, the head o
your program, or any o the sta members listed here: Trinh DiNoto, director o human
resources ([email protected], ..); Carla Jackson, assistant dean/general
manager/Title IX coordinator/discrimination and harassment resource coordinator
([email protected], ..); Florie Seery, associate dean/managing director
(fl[email protected], ..); James Bundy, dean/artistic director (james.
[email protected], ..).
Please note that employees o the School/YRT are required to notiy a University
Title IX coordinator about the acts o any sexual harassment or sexual misconduct
incident reported. You may choose to request confidentiality rom the University. We
encourage you to report any discrimination, sexual harassment, or sexual misconduct as
soon as possible, either in writing or in person. See Resources on Sexual Misconduct in
the chapter Yale University Resources and Services or more inormation.
You will not be penalized for reporting We are committed to providing a sae, support-
ive environment or any member o our community who reports discrimination, sexual
harassment, or sexual misconduct, either during or aer their time with the School/
YRT. No one, including your peers, supervisor, or another manager, will be permitted
to retaliate against you, in uture hiring choices or otherwise.
What you should do if the behavior is recurring aer it has already been reported I
discrimination, sexual harassment, or sexual misconduct reoccurs aer you have made
Training at David Gefen School o Drama: A Policy Overview
a report, it is particularly important that you report it again immediately. Do not wait
until you cannot tolerate the behavior any longer. The School/YRT are determined to
stop any discrimination, sexual harassment, or sexual misconduct immediately, and we
cannot know that it is continuing without your report.
In ollowing these guidelines, we believe our community can best uphold the mission
and values o the School and YRT and be an inspiration or all those committed to this
art orm.
Students at David Geen School o Drama reely associate themselves with the Univer-
sity, and in doing so arm their commitment to the University’s principles o honesty
and academic integrity. They are expected to abide by all University regulations, as well
as local, state, and ederal laws. The orms o behavior subject to disciplinary action
include, but are not limited to:
. Cheating and plagiarism: Cheating and plagiarism are understood to include all
orms o misrepresentation in academic and proessional work. Yale University poli-
cies on cheating and plagiarism may be ound at https://provost.yale.edu/policies/
academic-integrity/dealing-allegations-academic-misconduct.
. Illegal activity: Any activity illegal by state or ederal statutes is not permitted on or
o campus and will be subject to prosecution.
a. Illegal behaviors directed against the University or the University community.
b. Possession or use o explosives or weapons on University property. Note: the
use o stage weapons and stage violence and combat in School/YRT classes and
theater productions is governed by the School/YRT Stage Weapons Use Policy
and the School/YRT Fight/Violence Policy.
. Drug and alcohol use: Drinking alcohol or using drugs during class, rehearsal, or
perormance hours, and/or attending class or rehearsal or perorming production
work, assigned or elective work-study under the influence o alcohol or drugs, are
unproessional behaviors creating an unacceptable risk to saety and the artistic
process. Students who engage in such behavior are subject to disciplinary action or
dismissal rom the School o Drama.
. Persistent unproessional behavior including but not limited to recurring lateness
and/or unexcused absences rom required School/YRT classes, rehearsals, peror-
mances, and work calls; and violation o the Respect in Our Workplace Protocol and/
or other School/YRT and Yale University policies.
The dean o David Geen School o Drama, or a delegate o the dean, may place a student
on an emergency suspension rom residence or academic status when () the student has
been arrested or or charged with serious criminal behavior by law enorcement authori-
ties; or () the student allegedly violated a disciplinary rule o David Geen School o
Drama and the student’s presence on campus poses a significant risk to the saety or
security o members o the community.
David Gefen School o Drama –
Following an individualized risk and saety analysis, the student will be notified in
writing o the emergency suspension. A student who is notified o an emergency suspen-
sion will have hours to respond to the notice. The emergency suspension will not be
imposed prior to an opportunity or the student to respond unless circumstances warrant
immediate action or the saety and security o members o the community. In such cases,
the student will have an opportunity to respond aer the emergency suspension has been
imposed.
When a student in David Geen School o Drama is placed on an emergency suspen-
sion, the matter will be reerred or disciplinary action in accordance with school policy.
Such a suspension may remain in eect until disciplinary action has been taken with
regard to the student; however, it may be lied earlier by action o the dean or dean’s
delegate, or by the disciplinary committee aer a preliminary review.
In general, students with a complaint or grievance should see their program chair. I
the complaint or grievance pertains to their program chair, students should bring their
concern directly to the dean.
David Geen School o Drama’s Procedure or Student Complaints
David Geen School o Drama’s procedure or student complaints governs cases in
which a student has a complaint, including but not limited to a complaint o discrimina-
tion on the basis o race, sex, color, religion, age, disability, protected veteran status,
national or ethnic origin, sexual orientation, or gender identity or expression, against a
member o the aculty or administration o the School, as well as complaints that involve
misapplication o School policy.
Such complaints are reviewed by the Dean’s Advisory Committee on Student Griev-
ances, which is appointed ad hoc and is composed o five members including at least two
members o the aculty and one student. Complaints should be brought to the dean’s
attention as soon as possible aer the action giving rise to a complaint. Complaints
involving misapplication o School policy should be brought to the dean’s attention no
later than orty-five days aer that action. (I a complaint is in some manner associated
with the conduct o a course, the complaint must be submitted within orty-five days o
the action upon which it is based, but the student may request that no action be taken on
the complaint until aer the conclusion o the term in which the course has been oered.)
David Geen School o Drama Student Government (SDSG) strives to enhance the edu-
cational experience o each student by being a orum or students’ ideas and concerns;
acting as a liaison between students and the aculty and administration; and promoting
educational and social activities that help oster a strong sense o community within the
School.
Training at David Gefen School o Drama: A Policy Overview
,
, ()
The EDI Symposia Series is an ongoing eort that welcomes the attendance o all David
Geen School o Drama/Yale Repertory Theatre community members, to explore
topics related to anti-racism, equity, diversity, and inclusion in pedagogy and proes-
sional practice, providing opportunities or the cross-pollination o ideas and discourse
between the School, Yale Rep, and the greater theater community. Distinguished guest
panelists and presenters are curated by a steering committee including aculty, sta, and
students who identiy topics o interest and relevance to the community. The committee
invites individuals with a relationship with, expertise in, and unique perspective on the
chosen subject matter to give a presentation or participate in a discussion panel. The
symposia are an opportunity to ampliy the identities and perspectives o those who have
historically been underrepresented, so that we can center their and others’ experiences.
Each session includes an opportunity or the community to engage with the guests in a
question-and-answer session.
Several academic programs also host pertinent lecture series that are open to the entire
School and Yale Rep community. Please see the Dramaturgy and Dramatic Criticism
chapter o this bulletin or a description o Hot Topics. Additional open workshops, pan-
els, and lectures will be announced via email to the ull School and Yale Rep community.
David Geen School o Drama Anity Groups empower coalition building and net-
working among students who share common interests, goals, and/or a sel-identified
background.
ActOUT strives to create, oster, and strengthen bonds between LGBTQIA students
and aculty within the School and to support theater that speaks to queer identity and
issues. Through engagement with historical and contemporary queer theater practice
and practitioners, ActOUT advocates or the visibility o queer students, aculty, art, and
artists.
A.M.P.: Analyzing and Mobilizing Privilege, ounded in , is a learning group that
aims to unpack privilege and leverage it to ignite necessary change. A.M.P. strives to
support anity groups and all members o the School community, and to provide a sae
place where people can ask questions, challenge one another, and set changes in motion.
Beyond Borders, ounded in , aims to raise awareness o, to support, and to
empower the international community regardless o citizenship status at the School. It
cultivates global perspectives at the School by celebrating international experiences and
bringing in diverse understandings o culture, identity, and aesthetics. Beyond Borders is
a welcoming space or international community members as well as anyone experiencing
culture shock in their lie at the School, to share experiences, rustrations, joys, and
hopes.
DEFY: Disability Empowerment or Yale (DGSD) is a disability anity group ounded
in . DEFY uses the term disability purposeully and politically. Disability is a condi-
tion imposed by cultures that actively disable variant bodies and minds. DEFY exists to
David Gefen School o Drama –
create accessible spaces o community and support by and or the disabled community
o the School. It advocates or stories o disability on the stage and or disabled voices in
the room. In all o its work DEFY acknowledges that disability identities are intertwined
with race, gender, sexuality, citizenship, age, religion, and class, and it strives to hold
space or discussion and action that piece through these intersections and honor their
complexities.
El Colectivo, ounded in , is a collectively organized ensemble or Latinx, Latin
American, and allied School members to unite expressions o Latinidad under one roo
to upli themselves, their art, and their communities in conocimiento.
FOLKS, ounded in , exists to cultivate solidarity, legacy, and high-risk artistry
among the black artists at the School; it honors their rich history and inorms the culture
o the School or the next generation o black artists through perormances, activism, and
discussion.
New Lea is the Asian, Asian-American, and Pacific Islander (AAPI) coalition o
students and alumni at David Geen School o Drama. Originally ounded in as
Asian Potluck or our rich history o gathering around ood, we renamed the coalition
New Lea in to acknowledge the vast array o AAPI experiences. Our mission is
to oster an inclusive community o AAPI artists and thinkers; empower AAPI voices,
dreams, and questions; and build networks o AAPI artists. Asian, Asian American, and
Pacific Islander experiences and cultures are oen collapsed, misrepresented, and made
invisible. We seek to support one another as socially and politically engaged artists and
activists, while understanding that the AAPI identity is a label that is oen imposed on
us en masse despite our linguistic, cultural, and experiential dierences.
People o Marginalized Genders (PMG) seeks to provide a platorm or the spectrum
o voices o cis women, trans women, non-binary people, and those o nonconorming
genders. We upli our BIPOC and LGBTQ members and recognize the disproportionate
injustice they ace. PMG is committed to hosting productive conversations about gender
in the industry and at the School, advocating or people o marginalized genders as
individuals, artists, and equal members o society through the medium o theater and by
raising awareness o their issues, challenges, and victories—yesterday, today, and in the
uture. We honor the history o our ounding in as Womxn’s Voices in Theatre and
remain committed to evolving as necessary to ensure PMG is an inclusive, intersectional,
and essential anity space at the School.
For complete group descriptions, including any changes to mission statements or group
names that occur during the academic year please visit https://www.drama.yale.edu/
about-us/student-lie.
Yale University Resources and Services
Global engagement is core to Yale’s mission as one o the world’s great universities. Yale
aspires to:
• Be the university that best prepares students or global citizenship and leadership
• Be a worldwide research leader on matters o global import
• Be the university with the most eective global networks
Yale’s engagement beyond the United States dates rom its earliest years. The Uni-
versity remains committed to attracting the best and brightest rom around the world
by oering generous international financial aid packages, conducting programs that
introduce and acclimate international students to Yale, and ostering a vibrant campus
community.
Yale’s globalization is guided by the vice provost or global strategy, who is responsible
or ensuring that Yale’s broader global initiatives serve its academic goals and priorities,
and or enhancing Yale’s international presence as a leader in liberal arts education and
as a world-class research institution. The vice provost works closely with academic col-
leagues in all o the University’s schools and provides support and strategic guidance to
the many international programs and activities undertaken by Yale aculty, students, and
sta.
Teaching and research at Yale benefit rom the many collaborations underway with
the University’s international partners and the global networks orged by Yale across the
globe. International activities across all Yale schools include curricular initiatives that
enrich classroom experiences rom in-depth study o a particular country to broader
comparative studies; aculty research and practice on matters o international impor
-
tance; the development o online courses and expansion o distance learning; and the
many ellowships, internships, and opportunities or international collaborative research
projects on campus and abroad. Together these eorts serve to enhance Yale’s global
educational impact and are encompassed in the University’s global strategy.
The Oce o International Aairs (https://world.yale.edu/oia) provides adminis-
trative support or the international activities o all schools, departments, centers, and
organizations at Yale; promotes Yale and its aculty to international audiences; and
works to increase the visibility o Yale’s international activities around the globe. OIA
also coordinates Yale’s program or hosting scholars at risk.
The Oce o International Students and Scholars (https://oiss.yale.edu) hosts
orientation programs and social activities or the University’s international community
and is a resource or international students and scholars on immigration matters and
other aspects o acclimating to lie at Yale.
The Yale Alumni Association (https://alumni.yale.edu) provides a channel or com-
munication between the alumni and the University and supports alumni organizations
and programs around the world.
Additional inormation may be ound on the “Yale and the World” website (https://
world.yale.edu), including resources or those conducting international activities abroad
and links to international initiatives across the University.
David Gefen School o Drama –
Keep up to date about University news and events by subscribing to the Yale Today
e-newsletter, which is published five days a week and/or the Best o the Week edition,
which is published on Saturdays (https://news.yale.edu/subscribe-enewsletter). They
eature stories, videos, and photos rom YaleNews (http://news.yale.edu) and other
Yale sites. Also visit the Yale Calendar o Events (http://calendar.yale.edu) and the
University’s Facebook, Twitter, Instagram, LinkedIn, and YouTube channels.
The Yale Peabody Museum, ounded in , houses more than ourteen million
specimens and objects in ten curatorial divisions: Anthropology, Botany, Entomology,
History o Science and Technology, Invertebrate Paleontology, Invertebrate Zoology,
Mineralogy and Meteoritics, Paleobotany, Vertebrate Paleontology, and Vertebrate Zool-
ogy. The renowned collections continue to enrich teaching and learning and inorm
groundbreaking new research. The Museum’s galleries are currently under renovation
and will reopen in to display thousands o objects, including the first Brontosaurus,
Stegosaurus, and Triceratops specimens ever discovered.
The Yale University Art Gallery was ounded in as an art museum or Yale and
the community. Today it is one o the largest museums in the country, holding nearly
, objects and welcoming visitors rom around the world. The museum’s ency-
clopedic collection can engage every interest. Galleries showcase artworks rom ancient
times to the present, including vessels rom Tang-dynasty China, early Italian paintings,
textiles rom Borneo, treasures o American art, masks rom Western Arica, modern and
contemporary art, ancient sculptures, masterworks by Degas, van Gogh, and Picasso,
and more. Spanning one and a hal city blocks, the museum eatures more than ,
works on display, multiple classrooms, a rooop terrace, a sculpture garden, and dra-
matic views o New Haven and the Yale campus. The gallery’s mission is to encourage
an understanding o art and its role in society through direct engagement with original
works o art. Programs include exhibition tours, lectures, and perormances, all ree and
open to the public. For more inormation, please visit https://artgallery.yale.edu.
The Yale Center or British Art is a museum that houses the largest collection o
British art outside the United Kingdom, encompassing works in a range o media rom
the fieenth century to the present. It oers a vibrant program o exhibitions and events
both in person and online. Opened to the public in , the YCBA’s core collection and
landmark building—designed by architect Louis I. Kahn—were a gi to Yale University
rom the collector and philanthropist Paul Mellon, ’. For more inormation, visit
britishart.yale.edu.
There are more than eighty endowed lecture series held at Yale each year on subjects
ranging rom anatomy to theology, and including virtually all disciplines.
More than five hundred musical events take place at the University during the
academic year. In addition to degree recitals by graduate students, the School o Music
presents the Ellington Jazz Series, Faculty Artist Series, Horowitz Piano Series, New
Music New Haven, Oneppo Chamber Music Series, and Yale in New York, as well as per-
ormances by the Yale Opera, Yale Philharmonia, Yale Choral Artists, and various YSM
ensembles, along with concerts at the Morris Steinert Collection o Musical Instruments.
The Institute o Sacred Music presents Great Organ Music at Yale, the Yale Camerata,
the Yale Schola Cantorum, and many other special events. The Norolk Chamber Music
Yale University Resources and Services
Festival/Yale Summer School o Music presents a six-week Chamber Music Session,
along with the New Music Workshop and the Chamber Choir and Choral Conduct
-
ing Workshop. Many o these concerts stream live on the School’s website (https://
music.yale.edu). Undergraduate organizations include the Yale Bands, Yale Glee Club,
Yale Symphony Orchestra, and numerous other singing and instrumental groups. The
Department o Music sponsors the Yale Collegium, Yale Baroque Opera Project, produc-
tions o new music and opera, and undergraduate recitals.
For theatergoers, Yale and New Haven oer a wide range o dramatic productions at
such venues as the University Theatre, Yale Repertory Theatre, Yale Cabaret, Yale Resi-
dential College Theaters, O Broadway Theater, Iseman Theater, Whitney Humanities
Center, Collective Consciousness Theatre, A Broken Umbrella Theatre, Elm Shakespeare
Company, International Festival o Arts and Ideas, Long Whar Theatre, and Shubert
Perorming Arts Center.
The Payne Whitney Gymnasium is one o the most elaborate and extensive indoor athletic
acilities in the world. This complex includes the ,-seat John J. Lee Amphitheater,
the site or varsity basketball, volleyball, and gymnastics competitions; the Robert J.H.
Kiphuth Exhibition Pool; the Brady Squash Center, a world-class acility with fieen
international-style courts; the Adrian C. Israel Fitness Center, a state-o-the-art exercise
and weight-training complex; the Brooks-Dwyer Varsity Strength and Conditioning
Center; the Colonel William K. Lanman, Jr. Center, a ,-square-oot space or
recreational/intramural play and varsity team practice; the Greenberg Brothers Track,
an eighth-mile indoor jogging track; the David Paterson Gol Technology Center; and
other rooms devoted to encing, gymnastics, rowing, wrestling, martial arts, general
exercise, and dance. Numerous group exercise classes in dance, martial arts, zumba,
yoga, pilates, spinning, HIIT and cardio, and sport skills are oered throughout the year.
Yale undergraduates and graduate and proessional school students may use the gym at
no charge throughout the year. Memberships at reasonable ees are available or aculty,
employees, postdocs, visiting associates, alumni, and members o the New Haven
community. Memberships are also available or spouses and children o all members.
Additional inormation is available at https://sportsandrecreation.yale.edu.
During the year, various recreational opportunities are available at the David S. Ingalls
Rink, the McNay Family Sailing Center in Branord, the Yale Outdoor Education Center
(OEC) in East Lyme, the Yale Tennis Complex, and the Yale Gol Course. All members
o the Yale community and their guests may participate at each o these venues or a
modest ee. Up-to-date inormation on programs, hours, and specific costs is available
at https://myrec.yale.edu.
Approximately fiy club sports are oered at Yale, organized by the Oce o Club
Sports and Outdoor Education. Most o the teams are or undergraduates, but a ew
are available to graduate and proessional school students. Yale students, aculty, sta,
and alumni may use the OEC, which consists o , acres surrounding a mile-long
lake in East Lyme, Connecticut. The acility includes overnight cabins and campsites, a
pavilion and dining hall available or group rental, and a waterront area with supervised
swimming, rowboats, canoes, stand-up paddleboards, and kayaks. Adjacent to the lake,
David Gefen School o Drama –
a shaded picnic grove and gazebo are available to visitors. In a more remote area o the
acility, hiking trails loop the north end o the property; trail maps and directions are
available on-site at the field oce. The OEC is open rom the third week in June through
Labor Day. For more inormation, including mid-September weekend availability, call
.. or visit https://sportsandrecreation.yale.edu/outdoor-education-center-.
Throughout the year, Yale graduate and proessional school students have the
opportunity to participate in numerous intramural sports activities, including volleyball,
soccer, and soball in the all; basketball and volleyball in the winter; soball, soccer,
ultimate, and volleyball in the spring; and soball in the summer. With ew exceptions,
all academic-year graduate-proessional student sports activities are scheduled on week-
ends, and most sports activities are open to competitive, recreational, and coeducational
teams. More inormation is available rom the Intramurals Oce in Payne Whitney
Gymnasium, .., or online at https://myrec.yale.edu.
Yale University issues identification (ID) cards to aculty, sta, and students. ID cards
support the community’s saety and security by allowing access to many parts o campus:
dining halls and caés, residential housing, libraries, athletic centers, workspaces, labs,
and academic buildings. Cultivating an environment o public saety requires the entire
community to work together to ensure appropriate use o our spaces, as well as to oster
a sense o belonging or all members o our community.
University policies, regulations, and practice require all students, aculty, and sta to
carry their Yale ID card on campus and to show it to university ocials on request. Yale
ID cards are not transerable. Community members are responsible or their own ID
card and should report lost or stolen cards immediately to the Yale ID Center (https://
idcenter.yale.edu).
Members o the University community may be asked to show identification at vari-
ous points during their time at Yale. This may include but not be limited to situations
such as: where individuals are entering areas with access restrictions, or identification
in emergency situations, to record attendance at a particular building or event, or or
other academic or work-related reasons related to the sae and eective operation and
unctioning o Yale’s on-campus spaces.
For some members o our community, based on the needs and culture o their
program, department, and/or characteristics o their physical spaces, being asked to
show an ID card is a regular, even daily, occurrence. However, or others it may be
new or inrequent. For some, being asked to produce identification can be experienced
negatively, as a contradiction to a sense o belonging or as an aront to dignity. Yale
University is committed to enhancing diversity, supporting equity, and promoting an
environment that is welcoming, inclusive, and respectul. University ocials requesting
that a community member show their ID card should remain mindul that the request
may raise questions and should be prepared to articulate the reasons or any specific
request during the encounter. In addition, individuals requesting identification should
also be prepared to present their own identification, i requested.
Yale University Resources and Services
The Yale Housing Oce has dormitory and apartment units available or graduate and
proessional students. Dormitories are single-occupancy and two-bedroom units o
varying sizes and prices. They are located across the campus, rom Edward S. Harkness
Memorial Hall, serving the medical campus, to Helen Hadley Hall (which will be closing
in summer ) and the newly built Elm Street, serving the central/science campus.
Unurnished apartments consisting o eciencies and one-, two-, and three-bedroom
apartments or singles and amilies are also available. Family housing is available in
Whitehall and Esplanade Apartments. The Housing website (https://housing.yale.edu)
is the venue or graduate housing inormation and includes dates, procedures, acility
descriptions, floor plans, and rates. Applications or the new academic year are available
beginning April and can be submitted directly rom the website with a Yale NetID.
Room selection or paired roommates begins April . Room selection or all others
begins April .
The Yale Housing Oce also manages the O Campus Living listing service (http://
ocampusliving.yale.edu; ..), which is the exclusive Yale service or provid-
ing o-campus rental and sales listings rom New Haven landlords. This secure system
allows members o the Yale community to search rental listings, review landlord/prop-
erty ratings, and search or a roommate in the New Haven area. On-campus housing
is limited, and members o the community should consider o-campus options. Yale
University discourages the use o Craigslist and other third-party nonsecure websites
or o-campus housing searches.
The Yale Housing Oce is located in Helen Hadley Hall (HHH) at Temple Street
and is open rom a.m. to p.m., Monday through Friday; ...
Yale Hospitality has tailored its services to meet the particular needs o graduate
and proessional school students by oering meal plan options that allow flexibility and
value. For up-to-date inormation on all options, costs, and residential and retail dining
locations, visit https://hospitality.yale.edu. Inquiries concerning ood services should
be addressed to Yale Hospitality, Church Street, PO Box , New Haven CT
-; email, [email protected]; tel., ...
The Yale Health Center is located on campus at Lock Street. The center is home to Yale
Health, a not-or-profit, physician-led health coverage option that oers a wide variety
o health care services or students and other members o the Yale community. Services
include student health, gynecology, mental health, pediatrics, pharmacy, blood draw,
radiology, a seventeen-bed inpatient care unit, and an acute care clinic with extended
hours and telephone triage/guidance rom a registered nurse twenty-our hours a day.
Additional specialty services such as allergy, dermatology, orthopedics, and a travel clinic
and more are available with added coverage. Yale Health’s services are detailed in the Yale
Health Student Handbook, available through the Yale Health Member Services Depart-
ment, .., or online at https://yalehealth.yale.edu/coverage/student-coverage.
David Gefen School o Drama –
Eligibility or Services
All ull-time Yale degree-candidate students who are paying at least hal tuition are
enrolled automatically or Yale Health Basic Student Health Services, which is oered
at no charge and includes preventive health and medical services in the departments o
Student Health, Gynecology, Student Wellness, and Mental Health & Counseling. In
addition, treatment or urgent medical problems can be obtained twenty-our hours a
day through Acute Care.
Students on leave o absence, on extended study and paying less than hal tuition, or
enrolled per course credit are not eligible or Yale Health Basic Student Health Services
but may enroll in Yale Health Student Aliate Coverage. Students enrolled in the Divi-
sion o Special Registration as nondegree special students or visiting scholars are not
eligible or Yale Health Basic Student Health Services but may enroll in the Yale Health
Billed Associates Plan and pay a monthly ee. Associates must register or a minimum o
one term within the first thirty days o aliation with the University.
Students not eligible or Yale Health Basic Student Health Services may also use the
services on a ee-or-service basis. Students who wish to be seen ee-or-service must
register with the Member Services Department. Enrollment applications or the Yale
Health Student Aliate Coverage, Billed Associates Plan, or Fee-or-Service Program
are available rom the Member Services Department.
All students who purchase Yale Health Hospitalization/Specialty Coverage (see
below) are welcome to use specialty and ancillary services at Yale Health Center. Upon
reerral, Yale Health will cover the cost o specialty and ancillary services or these stu-
dents. Students with an alternate insurance plan should seek specialty services rom a
provider who accepts their alternate insurance.
Health Coverage Enrollment
The University also requires all students eligible or Yale Health Basic Student Health
Services to have adequate hospital insurance coverage. Students may choose Yale Health
Hospitalization/Specialty Coverage or elect to waive the plan i they have other hospi-
talization coverage, such as coverage through a spouse or parent. The waiver must be
renewed annually, and it is the student’s responsibility to confirm receipt o the waiver
by the University’s deadlines noted below.
/
For a detailed explanation o this plan, which includes coverage or prescriptions, see the
Yale Health Student Handbook, available online at https://yalehealth.yale.edu/coverage/
student-coverage.
Students are automatically enrolled and charged a ee each term on their Student
Financial Services bill or Yale Health Hospitalization/Specialty Coverage. Students with
no break in coverage who are enrolled during both the all and spring terms are billed
each term and are covered rom August through July . For students entering Yale
or the first time, readmitted students, and students returning rom a leave o absence
who have not been covered during their leave, Yale Health Hospitalization/Specialty
Coverage begins on the first day required to be on campus or program orientation. A
student who is enrolled or the all term only is covered or services through January ;
a student enrolled or the spring term only is covered or services through July .
Yale University Resources and Services
Waiving Yale Health Hospitalization/Specialty Coverage Students are permitted to
waive Yale Health Hospitalization/Specialty Coverage by completing an online waiver
orm at https://yhpstudentwaiver.yale.edu that demonstrates proo o alternate cover-
age. It is the student’s responsibility to report any changes in alternate insurance coverage
to the Member Services Department within thirty days. Students are encouraged to
review their present coverage and compare its benefits to those available under Yale
Health. The waiver orm must be filed annually and must be received by September
or the ull year or all term or by January or the spring term only.
Revoking the waiver Students who waive Yale Health Hospitalization/Specialty Cover-
age but later wish to be covered must complete and send a orm voiding their waiver to
the Member Services Department by September or the ull year or all term, or by
January or the spring term only. Students who wish to revoke their waiver during the
term may do so, provided they show proo o loss o the alternate insurance plan and
enroll within thirty days o the loss o this coverage. Yale Health ees will not be prorated.
A student may enroll the student’s lawully married spouse or civil union partner and/or
legally dependent child(ren) under the age o twenty-six in one o three student depen-
dent plans: Student + Spouse, Student + Child/Children, or Student Family Plan. These
plans include services described in both Yale Health Basic Student Health Services and
Yale Health Hospitalization/Specialty Coverage. Coverage is not automatic, and enroll-
ment is by application. Applications are available rom the Member Services Department
or can be downloaded rom the website (https://yalehealth.yale.edu/resources/orms)
and must be renewed annually. Applications must be received by September or ull-
year or all-term coverage, or by January or spring-term coverage only.
Students on leave o absence, on extended study, or enrolled per course per credit; stu-
dents paying less than hal tuition; students enrolled in the EMBA program; students
enrolled in the Broad Center M.M.S. program; students enrolled in the PA Online pro-
gram; and students enrolled in the EMPH program may enroll in Yale Health Student
Aliate Coverage, which includes services described in both Yale Health Basic Student
Health Services and Yale Health Hospitalization/Specialty Coverage. Applications are
available rom the Member Services Department or can be downloaded rom the website
(https://yalehealth.yale.edu/resources/orms) and must be received by September or
ull-year or all-term coverage, or by January or spring-term coverage only.
Eligibility Changes
Withdrawal A student who withdraws rom the University during the first fieen
days o the term will be reunded the ee paid or Yale Health Hospitalization/Specialty
Coverage. The student will not be eligible or any Yale Health benefits, and the student’s
Yale Health membership will be terminated retroactive to the beginning o the term.
The medical record will be reviewed, and any services rendered and/or claims paid will
be billed to the student on a ee-or-service basis. Assistance with identiying and locat-
ing alternative sources o medical care may be available rom the Care Management
David Gefen School o Drama –
Department at Yale Health. At all other times, a student who withdraws rom the Uni-
versity will be covered by Yale Health or thirty days ollowing the date o withdrawal.
Fees will not be prorated or reunded. Students who withdraw are not eligible to enroll
in Yale Health Student Aliate Coverage. Regardless o enrollment in Yale Health
Hospitalization/Specialty Coverage, students who withdraw will have access to services
available under Yale Health Basic Student Health Services (including Student Health,
Athletic Medicine, Mental Health & Counseling, and Care Management) during these
thirty days to the extent necessary or a coordinated transition o care.
Leaves of absence Students who are granted a leave o absence are eligible to purchase
Yale Health Student Aliate Coverage or the term(s) o the leave. I the leave occurs on
or beore the first day o classes, Yale Health Hospitalization/Specialty Coverage will end
retroactive to the start o the coverage period or the term. I the leave occurs anytime
aer the first day o classes, Yale Health Hospitalization/Specialty Coverage will end on
the day the registrar is notified o the leave. In either case, students may enroll in Yale
Health Student Aliate Coverage. Students must enroll in Aliate Coverage prior to the
beginning o the term unless the registrar is notified aer the first day o classes, in which
case, the coverage must be purchased within thirty days o the date the registrar was
notified. Fees paid or Yale Health Hospitalization/Specialty Coverage will be applied
toward the cost o Aliate Coverage. Coverage is not automatic, and enrollment orms
are available at the Member Services Department or can be downloaded rom the website
(https://yalehealth.yale.edu/resources/orms). Fees will not be prorated or reunded.
Extended study or reduced tuition Students who are granted extended study status or
pay less than hal tuition are not eligible or Yale Health Hospitalization/Specialty Cover-
age. They may purchase Yale Health Student Aliate Coverage during the term(s) o
extended study. This plan includes services described in both Yale Health Basic Student
Health Services and Yale Health Hospitalization/Specialty Coverage. Coverage is not
automatic, and enrollment orms are available at the Member Services Department or
can be downloaded rom the website (https://yalehealth.yale.edu/resources/orms).
Students must complete an enrollment application or the plan prior to September
or the ull year or all term, or by January or the spring term only.
Per course per credit Students who are enrolled per course per credit are not eligible
or Yale Health Hospitalization/Specialty Coverage. They may purchase Yale Health
Student Aliate Coverage during the term(s) o per course per credit enrollment. This
plan includes services described in both Yale Health Basic Student Health Services and
Yale Health Hospitalization/Specialty Coverage. Coverage is not automatic, and enroll-
ment orms are available at the Member Services Department or can be downloaded rom
the website (https://yalehealth.yale.edu/resources/orms). Students must complete an
enrollment application or the plan prior to September or the ull year or all term, or
by January or the spring term only.
For a ull description o the services and benefits provided by Yale Health, please reer
to the Yale Health Student Handbook, available rom the Member Services Department,
.., Lock Street, PO Box , New Haven CT -.
Yale University Resources and Services
Required Immunizations
Proo o vaccination is a pre-entrance requirement determined by the Connecticut State
Department o Public Health. Students who are not compliant with this state regulation
will not be permitted to register or classes or move into the dormitories or the all term,
. Please access the Incoming Student Vaccination Record orm or graduate and
proessional students at https://yalehealth.yale.edu/new-graduate-and-proessional-
student-orms. Connecticut state regulation requires that this orm be completed and
signed, or each student, by a physician, nurse practitioner, or physician’s assistant. The
orm must be completed, independent o any and all health insurance elections or cover-
age chosen. Once the orm has been completed, the inormation must be entered into
the Yale Vaccine Portal and all supporting documents must be uploaded to http://yale.
medicatconnect.com. The final deadline is August .
COVID-19 As per recommendations rom the Centers or Disease Control and Preven-
tion, vaccination against COVID- is strongly encouraged, but not required, or incom-
ing (matriculating) students. Students are asked to submit documentation o prior any
primary series vaccinations or bivalent boosters that they have received through the Yale
Health website, http://yalehealth.yale.edu. Vaccination requirements remain in place or
healthcare workers and trainees, including students who work in settings where patient
care is provided, or those who work with human research subjects in clinical settings.
Those individuals must submit documentation o vaccination with a primary series and
one booster (or, or those who have not yet received a primary series, one bivalent dose
o vaccine) to the university or seek approval or a medical or religious exemption. Yale
will accept any combination o COVID- vaccines that have received ull approval or
Emergency Use Authorization (EUA) by the U.S. Food and Drug Administration (FDA)
or have been issued Emergency Use Listing (EUL) by the World Health Organization
(WHO). International students who do not have access to WHO or FDA authorized or
approved vaccines may be vaccinated at Yale Health on request.
Influenza All students are required to have flu vaccination in the all when it is made
available to them by Yale Health.
Measles, mumps, rubella, and varicella All students are required to provide proo
o immunization against measles (rubeola), mumps, German measles (rubella), and
varicella. Connecticut state regulation requires two doses MMR (combined measles,
mumps, and rubella) and two doses o varicella vaccine. The first dose must have been
given aer the student’s first birthday; the second dose must have been given at least
twenty-eight () days aer the first dose. I dates o vaccination are not available, titer
results (blood test) demonstrating immunity may be substituted or proo o vaccination.
The cost or all vaccinations and/or titers rests with the student, as these vaccinations
are considered to be a pre-entrance requirement by the Connecticut State Department
o Public Health. Students who are not compliant with this state regulation will not be
permitted to register or classes or move into the dormitories or the all term, .
Quadrivalent meningitis All students living in on-campus dormitory acilities (all
undergraduate residential colleges and the ollowing graduate dormitories: Pros
-
pect Street, Elm Street, Prospect Street, Baker Hall, Harkness Dormitory, and
David Gefen School o Drama –
Helen Hadley Hall) must be vaccinated against meningitis. The only vaccines that will
be accepted in satisaction o the meningitis vaccination requirement are ACWY Vax,
Menveo, Nimenrix, Menactra, Mencevax, and Menomune. The vaccine must have been
given within five years o the first day o classes at Yale. Students who are not compliant
with this state regulation will not be permitted to register or classes or move into the
dormitories or the all term, . The cost or all vaccinations and/or titers rests with
the student, as these vaccinations are a pre-entrance requirement by the Connecticut
State Department o Public Health. Please note that the State o Connecticut does not
require this vaccine or students who intend to reside on campus and are over the age
o twenty-nine.
TB screening The University requires tuberculosis screening or all incoming students
who have lived or traveled outside o the United States within the past year.
Hepatitis B series The University recommends that incoming students receive a series
o three Hepatitis B vaccinations. Students may consult their health care provider or
urther inormation.
https://sas.yale.edu
..
Student Accessibility Services (SAS) engages in an interactive process with Yale students,
including undergraduate, graduate, and proessional-school students with permanent
conditions and/or temporary injuries, to determine reasonable and appropriate accom-
modations on a case-by-case basis. Students may initiate this process by requesting
accommodations through the online accommodation request orm available at: https://
yale-accommodate.symplicity.com/public_accommodation.
Engagement with SAS is private, and aculty/sta are notified o approved accom-
modations on a need-to-know basis only, except when required by law. Students may
upload supporting documentation regarding their condition and request or accommo-
dations with their accommodation request orm. Documentation guidelines are available
on the SAS website at https://sas.yale.edu/get-started/documentation-guidelines.
,
Yale is a community committed to ostering an environment o diversity, mutual respect,
and intellectual discovery in which all members o the community can thrive. Acts o
discrimination and harassment are contrary to the community standards and ideals o
our university. Sta in the ollowing oces work within the Yale community to promote
respect, inclusivity, diversity, and equal opportunity, and are available to talk through
situations you have witnessed or experienced, as well as to provide guidance.
When you have concerns or questions related to discrimination or harassment, you
have a wide range o choices or support. You can reach out to a discrimination and
Yale University Resources and Services
harassment resource coordinator, or you can talk with others, such as a residential college
dean, dean o student aairs, or the Oce o Institutional Equity and Accessibility.
I you’d like to talk with someone about sexual misconduct or sex-based discrimina-
tion, you can reach out directly to the deputy Title IX coordinator o your school or the
Title IX Oce. The Title IX website (https://titleix.yale.edu/) is a helpul resource or
additional questions or concerns about sex-based discrimination or sexual misconduct.
I an individual is unsure o which resource to contact and wants to explore options or
addressing sexual misconduct, the SHARE Center is a good place to start.
Discrimination and Harassment Resource Coordinators
Oce hours: a.m.– p.m., M–F
https://dhr.yale.edu/discrimination-and-harassment-resource-coordinators
Discrimination and harassment resource coordinators (ormerly deans’ designees) have
been identified by the dean o each college and school as community members with
the responsibility to receive concerns and oer advice and guidance related to diversity
and inclusion, discrimination and harassment, and equal opportunity. Discrimination
and harassment resource coordinators may also help acilitate inormal resolution. This
may be an individual’s best “first stop” in discussing a concern related to discrimina-
tion, harassment, or retaliation, particularly as discrimination and harassment resource
coordinators will be knowledgeable about resources specific to their school or college.
Oce o Institutional Equity and Accessibility
Oce hours: a.m.– p.m., M–F
..
https://oiea.yale.edu
Any individual who would like to report a concern o discrimination, harassment, and/
or retaliation may contact the Oce o Institutional Equity and Accessibility (OIEA).
OIEA sta are available to discuss concerns, University resources, and options or resolu-
tion, including inormal resolution. Where appropriate, OIEA sta are also available to
conduct investigations into complaints o discrimination, harassment, and/or retaliation
committed by aculty or sta members. Talking with someone at OIEA about a concern
or making a complaint does not automatically launch an investigation. It can, however,
be an important step to alerting the University about a concern and getting assistance
to resolve it.
SHARE: Inormation, Advocacy, and Support
Lock Street, Lower Level
Appointments and drop-in hours: a.m.– p.m., M–F
/ on-call service (or time-sensitive matters): ..
https://sharecenter.yale.edu
SHARE, the Sexual Harassment and Assault Response and Education Center, has
trained counselors available to members o the Yale community who wish to discuss any
current or past experience o sexual misconduct involving themselves or someone they
David Gefen School o Drama –
care about. SHARE services are confidential and can be anonymous i desired. SHARE
can provide proessional help with medical and health issues (including accompanying
individuals to the hospital or the police), as well as ongoing counseling and support
or students. SHARE works closely with the University-Wide Committee on Sexual
Misconduct, the Title IX Oce, the Yale Police Department, and other campus resources
and can provide assistance with initiating a ormal or inormal complaint.
I you wish to make use o SHARE’s services, you can call the SHARE number
(..) at any time or a phone consultation or to set up an in-person appoint-
ment. You may also drop in on weekdays during regular business hours. Some legal and
medical options are time-sensitive, so i you have experienced an assault, we encourage
you to call SHARE and/or the Yale Police as soon as possible. Counselors can talk with
you over the phone or meet you in person at Acute Care in the Yale Health Center or at
the Yale New Haven Emergency Room. I it is not an acute situation, you can also contact
the SHARE sta via email at [email protected].
Title IX Coordinators
Oce hours: a.m.– p.m., M–F
..
https://titleix.yale.edu
Title IX o the Education Amendments o protects people rom sex discrimination
in educational programs and activities at institutions that receive ederal financial assis-
tance. Sex discrimination includes sexual harassment, sexual assault, and other orms o
sexual misconduct. The University is committed to providing an environment ree rom
discrimination on the basis o sex or gender.
Yale College, the Graduate School o Arts and Sciences, and the proessional schools
have each designated one or more deputy Title IX coordinators, who work closely with
the University Title IX Oce and University Title IX Coordinator Elizabeth Conklin.
Coordinators respond to and address concerns, provide inormation on available
resources and options, track and monitor incidents to identiy patterns or systemic
issues, deliver prevention and educational programming, and address issues relating
to gender-based discrimination and sexual misconduct within their respective schools.
Coordinators also work with pregnant and parenting individuals to coordinate needed
accommodations and to respond to instances o discrimination. Discussions with a dep-
uty Title IX coordinator are private and inormation is only shared with other University
ocials on a need-to-know basis. In the case o imminent threat to an individual or the
community, the coordinator may need to consult with other administrators or take action
in the interest o saety. The coordinators also work closely with the SHARE Center, the
University-Wide Committee on Sexual Misconduct, and the Yale Police Department.
Yale University Resources and Services
University-Wide Committee on Sexual Misconduct
Oce hours: a.m.– p.m., M–F
..
https://uwc.yale.edu
The University-Wide Committee on Sexual Misconduct (UWC) is an internal disciplin-
ary board or complaints o sexual misconduct available to students, aculty, and sta
across the University, as described in the committee’s procedures. The UWC provides
an accessible, representative, and trained body to airly and expeditiously address ormal
complaints o sexual misconduct. UWC members can answer inquiries about procedures
and the University sexual misconduct policy. The UWC is composed o aculty, senior
administrators, and graduate and proessional students drawn rom throughout the
University. UWC members are trained to observe strict confidentiality with respect to
all inormation they receive about a case.
Yale Police Department
Ashmun Street
/ hotline: ..
https://your.yale.edu/community/public-saety/yale-police-department
The Yale Police Department (YPD) operates / and is comprised o highly trained,
proessional ocers. The YPD can provide inormation on available victims’ assistance
services and also has the capacity to perorm ull criminal investigations. I you wish to
speak with Ocer Gabrielle Cotto, the sensitive crimes & support coordinator, she can
be reached at .. during business hours or via email at gabrielle.cotto@yale.
edu. Inormational sessions are available with the sensitive crimes & support coordinator
to discuss saety planning, available options, etc. The YPD works closely with the New
Haven State’s Attorney, the SHARE Center, the Title IX Oce, and various other depart-
ments within the University. Talking to the YPD does not commit you to submitting
evidence or pressing charges; with ew exceptions, all decisions about how to proceed
are up to you.
The religious and spiritual resources o the University serve all students, aculty, and sta
o all aiths. These resources are coordinated and/or supported through the Chaplaincy
(located on the lower level o Bingham Hall on Old Campus); the University Church
in Yale in Battell Chapel, an open and arming ecumenical Christian congregation;
and Yale Religious Ministries, the on-campus association o proessionals representing
numerous aith traditions. This association includes the Saint Thomas More Catholic
Chapel and Center at Yale and the Joseph Slia Center or Jewish Lie at Yale, and it
supports Buddhist, Hindu, and Muslim lie proessionals; several Protestant denomi-
national and nondenominational ministries; and student religious groups such as the
Baha’i Association, the Yale Hindu Student Council, the Muslim Student Association,
the Sikh Student Association, and many others. Hours or the Chaplain’s Oce during
David Gefen School o Drama –
the academic term are Monday through Thursday rom : a.m. to p.m., Friday rom
: a.m. to p.m., and Sunday evenings rom to . Additional inormation is available
at http://chaplain.yale.edu.
The Oce o International Students and Scholars (OISS) coordinates services and sup-
port or Yale’s nearly , international students, aculty, sta, and their dependents.
OISS assists international students and scholars with issues related to employment,
immigration, personal and cultural adjustment, and serves as a source o general
inormation about living at Yale and in New Haven. As Yale University’s representative
or immigration concerns, OISS helps students and scholars obtain and maintain legal
nonimmigrant status in the United States.
OISS programs, like daily English conversation groups, the Understanding America
series, DEIB workshops, bus trips, and social events, provide an opportunity to meet
members o Yale’s international community and become acquainted with the many
resources o Yale University and New Haven. Spouses and partners o Yale students and
scholars will want to get involved with the International Spouses and Partners at Yale
(ISPY) community, which organizes a variety o programs and events.
The OISS website (http://oiss.yale.edu) provides useul inormation to students and
scholars prior to and upon arrival in New Haven, as well as throughout their stay at Yale.
International students, scholars, and their amilies and partners can connect with OISS
and the Yale international community virtually through Yale Connect, Facebook, and
Instagram.
OISS is a welcoming venue or students and scholars who want to check their email,
grab a cup o coee, and meet up with a riend or colleague. The International Center is
OISS’s home on Yale campus and is located at Temple Street, across the street rom
Helen Hadley Hall. The International Center provides meeting space or student groups
and a venue or events organized by both student groups and University departments.
For more inormation about our hours, directions, and how to reserve space at OISS,
please visit https://oiss.yale.edu/about/hours-directions-parking.
Tuition and Living Expenses
Thanks to a generous million gi made by the David Geen Foundation in ,
all ull-time students in degree and certificate programs will receive percent tuition
support, in perpetuity. The oundation’s gi is augmented by many endowed scholar-
ship unds and annual donations, and the School also provides scholarships or living
expenses, books, and supplies to students with demonstrated financial need.
The tuition ee or – is ,.* Eligibility or tuition scholarship assistance
is ordinarily limited to six terms o study or M.F.A./certificate programs; two terms
o study or the Technical Internship program; and ten terms o study or the D.F.A.
program; exceptions are extremely rare.
A reasonable estimate o the cost o attendance or training at the School and living
o campus in the – nine-month academic year is between , and ,.
It includes:
Tuition* ,
Books and supplies (estimated)† –,
Estimated living expenses (includes Yale Health
Hospitalization/Specialty Coverage ee) ,
*Tuition or Special Students is ,. Tuition or Technical Interns and or Special Research Fellows
is ,. Tuition or D.F.A. candidates in residence is ,.
†Costs vary rom one program to another. Includes or required personal protective equipment
or first-year students and technical interns.
All students enrolled at least hal-time in a degree-seeking program receive Yale Health
Basic Coverage services ree o charge. They are also automatically enrolled in and
charged a ee or Yale Health Hospitalization/Specialty Coverage. Students may waive
the Yale Health Hospitalization/Specialty Coverage upon evidence that they have valid
and sucient alternative hospitalization coverage. See Health Services in the chapter
Yale University Resources and Services.
The living expenses estimate is based on the Bureau o Labor Statistics moderate
budget standard or this area. The School’s Financial Aid Oce also reviews actual
student budgets each year to veriy that the living expense budget used is reasonable.
Actual costs may vary depending on the individual. Expenses have risen consistently
over the past ew years, and it is sae to assume that both tuition and living costs or the
– academic year will be higher.
On the basis o the ederal regulations governing the return o ederal student aid (Title
IV) unds or withdrawn students, the rebate and reund o tuition are subject to the
ollowing policy.
. For purposes o determining the reund o Title IV unds, any student who withdraws
rom David Geen School o Drama or any reason during the first percent o the
term will be subject to a pro rata schedule that will be used to determine the amount
o Title IV unds a student has earned at the time o withdrawal. A student who
David Gefen School o Drama –
withdraws aer the percent point has earned percent o the Title IV unds.
–, the last days or reunding Title IV unds will be October , , in the
all term and March , , in the spring term.
. For purposes o determining the reund o institutional aid unds and or students
who have not received financial aid:
a. percent o tuition will be rebated or withdrawals that occur on or beore the
end o the first percent o the term: September , , in the all term and
January , , in the spring term.
b. A rebate o one-hal ( percent) o tuition will be granted or withdrawals that
occur aer the first percent but on or beore the last day o the first quarter o
the term: September , , in the all term and February , , in the spring
term.
c. A rebate o one-quarter ( percent) o tuition will be granted or withdrawals that
occur aer the first quarter o a term but on or beore the day o midterm: October
, , in the all term and March , , in the spring term.
d. Students who withdraw or any reason aer midterm will not receive a rebate o
any portion o tuition.
. The death o a student shall cancel charges or tuition as o the date o death, and the
bursar will adjust the tuition on a pro rata basis.
. I the student has received student loans or other orms o financial aid, unds will be
returned in the order prescribed by ederal regulations; namely, first to Federal Direct
Unsubsidized Loans, i any; then to Federal Direct Graduate PLUS Loans; next to any
other ederal, state, private, or institutional scholarships and loans; and, finally, any
remaining balance to the student.
. Recipients o ederal and/or institutional loans who withdraw are required to have
an exit interview beore leaving Yale. Students leaving Yale receive instructions on
completing this process rom Yale Student Financial Services.
Student accounts, billing, and related services are administered through the Oce
o Student Accounts, located at Church Street. The oce’s website is https://
student-accounts.yale.edu.
The Student Account is a record o all the direct charges or a student’s Yale educa-
tion such as tuition, room, board, ees, and other academically related items assessed by
oces throughout the University. It is also a record o all payments, financial aid, and
other credits applied toward these charges.
Students and student-designated proxies can view all activity posted to their Student
Account in real time through the University’s online billing and payment system, YalePay
(https://student-accounts.yale.edu/yalepay). At the beginning o each month, email
reminders to log in to YalePay to review the Student Account activity are sent to all
students at their ocial Yale email address and to all student-designated YalePay proxies.
Payment is due by p.m. Eastern Time on the last day o the month.
Yale does not mail paper bills or generate monthly statements. Students and their
authorized proxies can generate their own account statements in YalePay in pd orm to
Tuition and Living Expenses
print or save. The statements can be generated by term or or a date range and can be
submitted to employers, K plans, /College Savings Plans, scholarship agencies,
or other organizations or documentation o the charges.
Students can grant others proxy access to YalePay to view student account activity,
set up payment plans, and make online payments. For more inormation, see Proxy
Access and Authorization (https://student-accounts.yale.edu/understanding-your-bill/
your-student-account).
The Oce o Student Accounts will impose late ees o per month (up to a
total o per term) i any part o the term bill, less Yale-administered loans and
scholarships that have been applied or on a timely basis, is not paid when due. Students
who have not paid their student account term charges by the due date will also be placed
on Financial Hold. The hold will remain until the term charges have been paid in ull.
While on Financial Hold, the University will not ulfill requests or transcripts or provide
diplomas and reserves the right to withhold registration or withdraw the student or
financial reasons.
Payment Options
There are a variety o options oered or making payments toward a student’s Student
Account. Please note:
• All bills must be paid in U.S. currency.
• Yale does not accept credit or debit cards or Student Account payments.
• Payments made to a Student Account in excess o the balance due (net o pending
financial aid credits) are not allowed on the Student Account. Yale reserves the right
to return any overpayments.
Yale’s recommended method o payment is online through YalePay (https://student-
accounts.yale.edu/yalepay). Online payments are easy and convenient and can be made
by anyone with a U.S. checking or savings account. There is no charge to use this service.
Bank inormation is password-protected and secure, and there is a printable confirma-
tion receipt. Payments are immediately posted to the Student Account, which allows
students to make payments at any time up to p.m. Eastern Time on the due date o the
bill, rom any location, and avoid late ees.
For those who choose to pay by check, a remittance advice and mailing instructions
are available on YalePay. Checks should be made payable to Yale University, in U.S.
dollars, and drawn on a U.S. bank. To avoid late ees, please allow or adequate mailing
time to ensure that payment is received by p.m. Eastern Time on the due date.
Cash and check payments are also accepted at the Oce o Student Accounts, located
at Church Street and open Monday through Friday rom : a.m. to : p.m.
Yale University partners with Flywire, a leading provider o international payment
solutions, to provide a ast and secure way to make international payments to a Student
Account within YalePay. Students and authorized proxies can initiate international pay-
ments rom the Make Payment tab in YalePay by selecting “International Payment via
Flywire” as the payment method, and then selecting the country rom which payment
David Gefen School o Drama –
will be made to see available payment methods. International payment via Flywire allows
students and authorized proxies to save on bank ees and exchange rates, track the pay-
ment online rom start to finish, and have access to / multilingual customer support.
For more inormation on making international payments via Flywire, see International
Payments Made Easy at https://student-accounts.yale.edu/yalepay.
A processing charge o will be assessed or payments rejected or any reason by
the bank on which they were drawn. In addition, or every returned ACH payment due
to insucient unds made through YalePay, Flywire will charge a penalty ee o per
occurrence. Furthermore, the ollowing penalties may apply i a payment is rejected:
. I the payment was or a term bill, late ees o per month will be charged or the
period the bill was unpaid, as noted above.
. I the payment was or a term bill to permit registration, the student’s registration
may be revoked.
. I the payment was given to settle an unpaid balance in order to receive a diploma, the
University may reer the account to an attorney or collection.
Yale Payment Plan
A Yale Payment Plan provides parents and students with the option to pay education
expenses monthly. It is designed to relieve the pressure o lump-sum payments by allow-
ing amilies to spread payments over a period o months without incurring any interest
charges. Participation is optional and elected on a term basis. The cost to sign up is
per term.
Depending on the date o enrollment, students may be eligible or up to five install-
ments or the all and spring terms. Payment Plan installments will be automatically
deducted on the th o each month rom the bank account specified when enrolling in
the plan. For enrollment deadlines and additional details concerning the Yale Payment
Plan, see https://student-accounts.yale.edu/ypp.
Bill Payment and Pending Military Benefits
Yale will not impose any penalty, including the assessment o late ees, the denial o
access to classes, libraries, or other acilities, or the requirement that a student borrow
additional unds, on any student because o the student’s inability to meet their financial
obligations to the institution, when the delay is due to the delayed disbursement o
unding rom VA under chapter or .
Yale will permit a student to attend or participate in their course o education during
the period beginning on the date on which the student provides to Yale a certificate o
eligibility or entitlement to educational assistance under chapter or and ending on
the earlier o the ollowing dates: () the date on which payment rom VA is made to
Yale; () ninety days aer the date Yale certifies tuition and ees ollowing the receipt o
the certificate o eligibility.
Certain events that are beyond the University’s control may cause or require the interrup-
tion or temporary suspension o some or all services and programs customarily urnished
by the University. These events include, but are not limited to, epidemics or other public
health emergencies; storms, floods, earthquakes, or other natural disasters; war, ter-
rorism, rioting, or other acts o violence; loss o power, water, or other utility services;
and strikes, work stoppages, or job actions. In the ace o such events, the University
may, at its sole discretion, provide substitute services and programs, suspend services
and programs, or issue appropriate reunds. Such decisions shall be made at the sole
discretion o the University.
Tuition and Living Expenses
Financial Aid Policy
Thanks to an extremely generous gi rom the David Geen Foundation in , all
ull-time students in degree and certificate programs will receive percent tuition sup-
port, in perpetuity. In addition to ull tuition support, the School also has a need-based
financial aid policy to ensure that all qualified students with demonstrated financial need
will have the opportunity to attend Yale.* Each year, the School awards a substantial
amount o financial aid, totaling more than million in –.
Financial aid or living expenses and books and supplies is awarded on the basis o
demonstrated financial need. Aer tuition scholarship and work-study are applied, finan-
cial need is calculated as the dierence between the cost o attendance and the assessed
student and parental contributions. The financial aid award consists o a combination o
tuition scholarship, work-study employment, and living expense scholarship or those
who qualiy. As o the – academic year, the average student with demonstrated
high financial need receives ull tuition scholarship, work-study employment, first-year
educational loan, and living expense scholarship, providing ninety-our percent o the
cost o attendance over three years. The average student with demonstrated moderate
financial need receives ull tuition scholarship, work-study employment, first-year edu-
cational loan, and living expense scholarship providing eighty-six percent o the cost o
attendance over three years. The average student with demonstrated low financial need
receives ull tuition scholarship, work-study employment, first-year educational loan,
and living expense scholarship providing seventy-eight percent o the cost o attendance
over three years.
Students who do not qualiy or need-based financial aid will receive ull tuition
scholarship and work-study employment and may be able to receive assistance through
various supplemental loan programs as needed.
*All inormation in this section is typical o the – academic year. It may dier rom year to
year depending on changes in ederal regulations, the cost o living, and available financial resources.
Requirements o David Geen School o Drama’s need-blind admission policy as well
as Yale’s Policy on Student Records ensure the confidentiality o applicants’ and their
amilies’ economic circumstances. Access to personally identifiable financial aid materi-
als—including applications, financial aid transcripts, financial aid award letters, and loan
applications—is limited to Financial Aid Oce personnel and members o the Financial
Aid Committee.
The School’s Financial Aid Oce makes financial aid awards which, when added to ull
tuition scholarship, work-study employment, and any unds that are expected rom stu-
dents, their spouses, their amilies, and other available sources, should enable students
to meet the basic costs o attending Yale or the nine-month academic year.
Financial Aid Policy
Student and Family Resources
Students are responsible or contributing toward their living expenses at David Geen
School o Drama. Financial aid recipients are expected to use a portion o their sav-
ings and other assets during each year o enrollment at the School. I a student’s assets
increase, the expected contribution rom these resources will also increase.
It is assumed that students will contribute to their own support an amount based on
their annual earnings. The minimum required student contribution is ,. Spouses
o married students who are not themselves students and are capable o working will also
be expected to contribute toward the student’s support rom their wages. The student
can borrow the student contribution in the orm o an educational loan i necessary.
A parental contribution rom assets and/or income may also be assessed, regardless
o the student’s age, independence, or marital status. The student can replace any
expected parental contribution with an additional educational loan, i necessary. We
understand that some amilies may have extenuating circumstances that would require
an exception. Students may petition to have their noncustodial and/or custodial parent’s
financial inormation waived in such cases by submitting a Noncustodial or Custodial
Parent Waiver Petition orm with supporting documentation. Submission o a waiver
petition orm does not guarantee that the noncustodial or custodial parent’s financial aid
application requirements will be waived. I approved, a Parent Waiver does not need to
be resubmitted annually. A parental contribution is not assessed rom a parent who is
deceased or incarcerated.
Other resources such as outside scholarships and Veterans Administration benefits are
included among a student’s resources. Students are required to report other resources
to the Financial Aid Oce. In the event that a student earns an outside scholarship, or
other resource, David Geen School o Drama policy is to first apply the scholarship
toward the reduction o the first-year loan, then toward the parental contribution, and
then toward the student contribution i applicable. In rare circumstances, i an outside
scholarship results in aid above the cost o attendance, our need-based scholarship may
need to be reduced since students cannot receive financial aid above the total cost o
attendance. Students are also required to report any cash prizes and/or awards earned
while they are enrolled at David Geen School o Drama. Cash prizes and/or awards up
to , may not result in a reduction o need-based financial aid. For cash prizes and
awards above ,, adjustments to a student’s need-based financial award may be
necessary. Students should schedule a meeting with the director o financial aid to review
their options or all outside resources.
David Gefen School o Drama –
Components o the Financial Aid Award
A financial aid award is determined by first establishing a standard budget, or cost o
attendance. Using a set o ormulas developed by the U.S. Congress, called the Federal
Methodology, as well as ormulas developed by the College Board, a calculation o a
student’s resources and expected amily contribution, i applicable, is determined. Aer
tuition scholarship is applied, demonstrated financial need is calculated as the dier-
ence between a student’s cost o living expenses, books, and supplies, and the student’s
personal and amily contribution. Under no circumstance may financial aid exceed a
student’s total cost o attendance.
Students’ financial need is reassessed annually, because personal and amily circum-
stances may change materially rom year to year. Aer the successul completion o the
first year and assuming that there are no changes in the student’s demonstrated financial
need, the School’s policy is to eliminate the first-year loan rom the need-based calcula-
tion or the second and third year. For many students this will result in an increase in
living expense scholarship aer the first year. In other cases, students may not see a
significant increase, due to their calculated demonstrated financial need.
Work-study The work-study component o the financial aid award consists o
assigned work-study hours rom jobs within the School, Yale Repertory Theatre, and
Yale Cabaret. All students and technical interns (excluding D.F.A. students, special stu-
dents, and special research ellows) are expected to complete a minimum o hours
o work-study employment in the – academic year. Work-study earnings are
paid weekly or semi-monthly. Students and technical interns on financial aid who all
short o earning their assigned hours o work-study as a result o conflicting commit-
ments to the School or Yale Repertory Theatre, or other extenuating circumstance such
as illness or injury, are eligible to request a conversion o their remaining unearned hours
(up to ) into grant. Work-study hours missed rom an absence, tardiness, delay o
I- completion, or conflict resolution outside o the prioritized list are not eligible or
conversion, should a student otherwise be qualified. Occasionally, based on the needs
o the School and Yale Rep, it is possible that some students may be assigned over
hours o work-study. This will be communicated to the student by the Student Labor
Supervisor via the assignments tab on https://your.drama.yale.edu.
Educational loans Educational loans make up an important part o many first-year
awards and are only available during the nine-month academic year. A student may bor-
row the expected student contribution and any expected parental contribution i needed.
Loans or domestic students are issued through the ederal student loan programs and/
or various private supplemental loan programs. International students may apply or a
Yale Graduate and Proessional international loan and/or various private supplemental
loan programs. Domestic students in a certificate program who do not have a our-year
degree are only eligible or a maximum ederal unsubsidized loan o , (, or
technical interns) in the first year o study. Eligibility o loan amounts in subsequent
years o study may vary. These students should contact the Financial Aid Oce or inor-
mation on ederal loan guidelines and restrictions that apply to certificate programs as
well as alternative and private loans that may be available to them. The deadline to apply
or educational loans is ten business days beore the end o the spring term, May , .
Financial Aid Policy
Tuition scholarships Thanks to a generous gi rom the David Geen Foundation in
, all ull-time students in degree and certificate programs receive percent tuition
support. Eligibility or tuition scholarship assistance is ordinarily limited to six terms o
study or M.F.A./certificate programs; two terms o study or the Technical Internship
program; and ten terms o study or the D.F.A. program; exceptions are extremely rare.
Living expense scholarships When the total amount o the student contribution, paren-
tal contribution, first-year loan (when applicable), work-study employment, and tuition
scholarship do not meet a student’s ull financial need, a living expense scholarship is
awarded. This scholarship assists with living expenses as well as books and supplies and
is paid in two installments, the first at the start o the all term and the second at the
start o the spring term. The cost or books and supplies varies by academic discipline.
Living Expenses 2023–2024
Estimated Month Months
Rent ,
Utilities (electric, heat, water) ,
Communications (broadband internet + phone) ,
Transportation*
Food ,
Yale Health Hospitalization/Specialty Coverage† ,
Other Expenses ,
_____ _____
Total Estimated Living Expenses , ,
*For travel to and rom student’s local residence, within Connecticut, and the School
†Yale Health Hospitalization/Specialty coverage is or twelve months.
Tax scholarships for international students For international students rom countries
that do not have a tax treaty with the United States, any scholarship above the cost o
tuition will be automatically taxed at (subject to change), thereby reducing the net
amount o scholarship the student receives. In order to support international students
who are taxed, the School will process a tax scholarship each term to ensure that these
students receive the total scholarship awarded. All international students and scholars
are required to file a U.S. ederal tax return each year.
Applicants must complete all the applicable requirements annually (U.S. citizen/perma-
nent resident or international student) in order to be evaluated or need-based financial
assistance or living expenses, books, and supplies.
U.S. Citizens/Permanent Residents
All students requesting need-based financial assistance who are U.S. citizens or eligible
non-citizens are expected to file a Free Application or Federal Student Aid (FAFSA).
This is essential or establishing eligibility or ederal financial aid programs, including
David Gefen School o Drama –
Federal Work-Study and ederal loan programs. For eciency and accuracy, complete
the application online at https://asa.ed.gov.
. File a – Free Application or Federal Student Aid (FAFSA) by March , ,
at https://asa.ed.gov. Yale’s ederal school code is , which is necessary to com-
plete the FAFSA and to ensure that the School receives the processed inormation
electronically.
All students wishing to be considered or ederal work-study, ederal loans, and need-
based financial assistance must file their application online at www.collegeboard.org.
. File a – College Board CSS/Financial Aid PROFILE® application by March ,
, at www.collegeboard.org.
All students must submit a signed copy o their and their parents’ ederal tax returns.
. Mail signed copies o your (the student’s) and your parents’ ederal income tax returns
by March , . Please include copies o all W-s and any schedules. These docu-
ments may be emailed rather than mailed, i desired, to dgsd.fi[email protected].
International Students
All international students requesting need-based financial assistance are expected to
file the College Board application. The orm is essential or establishing eligibility or
need-based assistance.
. Complete the College Board CSS/Financial Aid PROFILE® application by March , ,
at www.collegeboard.org.
/
. Mail signed copies o your (the student’s) and your parents’ tax documents and income
and bank statements (U.S. and home country) by March , . Please note that i any
documents are not in English, you must provide a notarized English translation in
addition to the original documents. These documents may be emailed rather than
mailed, i desired, to dgsd.fi[email protected].
In order to receive visa documentation, international students must submit proo that
income rom all sources will be sucient to meet expenses or one year o study. Evidence
o unds may come rom a combination o the ollowing sources: adavit rom a bank,
copy o a financial aid award letter stating that financial assistance has been oered,
certification by parents o their ability and intention to provide the necessary unds, or
certification by employer o anticipated income.
Financial Aid Policy
The deadline or continuing students to submit all – financial aid applications
and mail tax returns/income inormation is March , .
The Financial Aid Oce cannot guarantee that an award letter will be issued beore
August , , i the financial aid application is submitted aer the March deadline.
The mailing address to which all orms should be sent is: Financial Aid Oce, David
Geen School o Drama at Yale University, York Street, Room A, PO Box ,
New Haven CT -.
All students who receive unds through a ederal program must certiy to the ollow-
ing: that any unds received will be used solely or expenses related to attendance at
David Geen School o Drama; that they will repay unds that cannot reasonably be
attributed to meeting those expenses; that they are not in deault on any student loan
nor owe a repayment on a ederal grant. Continued eligibility or financial aid requires
that students maintain satisactory progress in their courses o study according to the
policies and practices o David Geen School o Drama.
’
Students seeking general inormation about veterans’ education benefits should contact
the U.S. Department o Veterans Aairs via the web at http://benefits.va.gov/gibill or
eligibility inormation.
David Geen School o Drama participates in the Yellow Ribbon Program under
the Post-/ GI Bill®, which allows it to enter into an agreement with the Veterans
Administration to und education expenses to eligible individuals who apply to the
program. Students should contact the School’s registrar or enrollment certification.
No prior course credits are accepted or the successul completion o the program o
study in any o the eight theatrical disciplines oered at the School. This includes the
Master o Fine Arts, Certificate in Drama, and one-year special student and one-year
Technical Internship Certificate. However, veterans who leave the School and are later
readmitted pursuant to the U.S. Military Leave Readmissions Policy (discussed in the
chapter Training at David Geen School o Drama: A Policy Overview) will receive credit
or all School course work completed prior to their leave, and these veterans will return
to Yale with the same enrolled status last held and same academic status. The School
maintains written records o course work completed by eligible veterans beore their
leave to ensure that appropriate credit is granted upon their return to the School.
Students who ace unanticipated, unoreseen, and unavoidable financial hardship during
the academic year that would likely impact or hinder academic progress may apply to the
Financial Aid Oce or a one-time emergency grant, typically not to exceed ,. An
David Gefen School o Drama –
emergency grant does not cover recurring expenses; instead, it is intended or students
who cannot reasonably resolve an immediate financial diculty through other means.
Examples o potentially eligible expenses include, but are not limited to, emergency
medical or dental expenses not covered by insurance; replacement o essential personal
belongings or temporary housing due to an emergency; and travel costs due to an unex-
pected crisis, serious illness, or death in the immediate amily. Emergency grants may
also be used or sudden repair o technology that is necessary or a student’s academic
program. Documentation o expenses (i.e., estimates and/or receipts) is required or all
grant requests. Students can submit an emergency grant request at https://dgsdino.
yale.edu/emergency-grant-request. Emergency grants are only available during the
nine-month academic year. The deadline to apply or an emergency grant is May , ,
the last business day o the spring term.
Computer loan In accordance with ederal regulations or Title IV unds, a student’s cost
o attendance budget may be increased or a computer purchase, one time only, during
their attendance at the School. Students must submit an estimate to the Financial Aid
Oce or pre-approval o the loan prior to the purchase, as well as a receipt or docu-
mentation aer the purchase is completed. The computer loan cannot exceed ,.
Eligibility or receipt o David Geen School o Drama assistance or most orms o
ederal financial aid is limited to students who are enrolled in programs that yield either a
degree or a certificate. At present, certain students, including those attending the School
as special students and special research ellows on a ull-time basis, are not eligible or
financial aid according to the ederal guidelines but may be eligible to apply or assistance
under various supplemental loan programs through their individual banks. Although
special students and special research ellows are eligible or and may choose to accept
work-study employment, they are not required to work. For more inormation, please
contact the School’s Financial Aid Oce.
Fellowships and Scholarships
At David Geen School o Drama, ellowships and scholarships are awarded exclusively
to students with demonstrated financial need.
The Nina Adams and Moreson Kaplan Scholarship was established in with a gi rom
Nina Adams ’ M.S., ’ M.S.N., and Dr. Moreson Kaplan. The scholarship benefits a
student in the Acting program.
The John Badham Scholarship, established in by John Badham ’, is awarded to
students in the Directing program.
The John M. Badham Fund was established in by John Badham ’.
The Mark Bailey Scholarship, established in through an estate gi rom Marcia E.
Bailey, is awarded with a preerence to graduates o high schools in the state o Maine
who show promise in the field o drama.
The George Pierce Baker Memorial Scholarship, established by riends o the late Proessor
Baker and by alumni o the School in , honors the memory o Proessor Baker, who
chaired the Yale Department o Drama rom its ounding in through .
The Herbert H. and Patricia M. Brodkin Scholarship was established in by Mr. and
Mrs. Brodkin, classes o and respectively.
The Patricia M. Brodkin Memorial Scholarship was established in by Herbert Brodkin
’, associates, and riends in memory o his wie Patricia ’.
The Robert Brustein Scholarship, established in by Rocco Landesman and Heidi
Ettinger to celebrate the th Anniversary o Yale Rep, honors the legacy o Robert
Brustein, ormer dean o the School and ounding artistic director o Yale Repertory
Theatre. This scholarship is awarded to a student in the Dramaturgy program.
The Paul Carter Scholarship, established in in memory o Paul Carter, a
Technical Design and Production graduate o the School and author o The Backstage
Handbook, by his amily and riends, is awarded to a student in the Technical Design
and Production program.
The Ciriello Family Scholarship was established in with a gi rom Nicholas G.
Ciriello ’ YC in honor o his fiieth college reunion.
The Class o and Friends Scholarship was established by Richard Ostreicher ’ in
to honor the memory and artistic legacies o classmates Kate Clarke, Liz Norment,
Chris Markel, Joe Barna, and Gary Phelps.
The August Coppola Scholarship was established in by Talia Coppola Shire
Schwartzman ’ and her brother, Francis Coppola, in memory o their brother, Dr.
August Coppola. This scholarship is awarded to students studying at the School.
The Caris Corman Scholarship was established in by Dr. Philip Corman to honor
the memory o his daughter, Caris Corman ’.
David Gefen School o Drama –
The Cheryl Craword Scholarship, established in through an estate gi rom Charlotte
Abramson, honors the memory o producer Cheryl Craword, a coounder o The Group
Theatre and The Actors Studio. The scholarship supports students in the Playwriting,
Directing, and Acting programs.
The Edgar and Louise Cullman Scholarship was established in and is awarded to
students in the Directing program.
The Cullman Scholarship in Directing, established in by Edgar Cullman, Jr. ’ YC
and Edgar (Trip) Cullman III ’ YC, ’ DRA, is awarded to students in the Directing
program.
The deVeer Family Drama Scholarship Fund, established in by Colleen and Kipp
deVeer ’ YC, is awarded each year to one or more students with demonstrated financial
need.
The Richard H. Diggs ’ Scholarship was established in by Nicholas W. Diggs in
honor o his ather, Richard H. Diggs, a member o Yale College class o and the
School’s class o , to benefit one or more students with demonstrated financial need.
The Holmes Easley Scholarship, established in through an estate gi rom Mr. Easley,
is awarded to a male student studying scenic design.
The Eldon Elder Fellowship, established in through an estate gi rom stage designer
and proessor Eldon Elder ’, is awarded to international students with preerence or
those studying Design and Technical Design and Production.
The Elihu Scholarship was established in by an anonymous donor to support one or
more students with demonstrated financial need.
The Wesley Fata Scholarship, established in by ormer students and riends o
Wesley Fata, Proessor Emeritus o Acting at the School, is awarded to students in the
Acting program.
The Foster Family Graduate Fellowship was established in in memory o Max Foster
’ YC, who wanted to be a playwright or an actor, by his wie, Elizabeth, and his son
Vincent ’ YC. The ellowship is awarded to a student, with preerence given to gradu-
ates o Yale College.
The Dino Fusco and Anita Pamintuan Fusco Scholarship, established in by Anita
Pamintuan Fusco ’ and Dino Fusco ’, is awarded with preerence to students who
are Asian or Asian American.
The Annie G.K. Garland Memorial Scholarship was established in by William J.
Garland in memory o his wie.
The Earle R. Gister Scholarship was established in memory o ormer aculty member
Earle R. Gister by Lynne and Roger Bolton to benefit one or more students pursuing a
degree in Acting at the School.
The Randolph Goodman Scholarship was established in through a bequest o
Randolph Goodman ’ ART.
Fellowships and Scholarships
The Stephen R. Grecco ’ Scholarship was established in with a gi rom Stephen R.
Grecco, a graduate o the School, to support one or more students in the Playwriting
program.
The Jerome L. Greene Scholarship, established in by the Jerome L. Greene Foun-
dation, provides ull tuition and living expenses to third-year students in the Acting
program.
The Julie Harris Scholarship was established in by riends and colleagues o Julie
Harris ’, D.F.A.H. ’, to benefit one or more students with demonstrated financial
need.
The Stephen J. Homan Scholarship was established in by Stephen J. Homan ’
YC to benefit one or more students with demonstrated financial need.
The Sally Horchow Scholarship or Actors, established in with a gi rom Roger
Horchow ’ YC, ’ L.H.D.H., honors Sally Horchow ’ YC.
The William and Sarah Hyman Scholarship was established in with a gi rom Wil-
liam Hyman ’ YC. The scholarship benefits a student studying lighting design.
The Georey Ashton Johnson/Noel Coward Scholarship was established in by Georey
Ashton Johnson ’ to honor Noel Coward’s contribution to the art orm and his legacy
as a playwright and perormer. This scholarship is awarded with preerence or students
in the Acting program.
The Pamela Jordan Scholarship was established in by alumni, aculty, sta, and
students o the School and colleagues and riends o Pamela Jordan, in honor o her
thirty-two years o service to the School and orty-two years o service to Yale University.
The Stanley Kaumann Scholarship was established in by students and riends o
Stanley Kaumann, ormer aculty member and long-time critic at The New Republic.
The scholarship benefits a student in Dramaturgy and Dramatic Criticism.
The Sylvia Fine Kaye Scholarship was established in to honor the lie and memory
o Sylvia Fine Kaye and the meaningul contributions she made to American theater and
film. The scholarship is awarded with preerence given to those with a keen interest and
demonstrated talent in musical theater.
The Jay and Rhonda Keene Scholarship or Costume Design was established in by Jay
Keene ’. The scholarship is awarded to a second- or third-year student specializing in
costume design.
The Ray Klausen Design Scholarship, established by Raymond Klausen ’, is designated
or second- and third-year Design students.
The Gordon F. Knight Scholarship, established in , is awarded to emale students at
the School.
The Ming Cho Lee Scholarship was established in by the students, colleagues, and
riends o Ming Cho Lee, one o the most distinguished designers in America. It honors
the orty-nine years he taught in the Design program at the School and the orty-three
years he served as the chair. It is awarded to students in Design.
David Gefen School o Drama –
The Lotte Lenya Scholarship, established in through an estate gi rom Margo
Harris Hammerschlag and Dr. Ernst Hammerschlag, honors the late actress and wie o
Kurt Weill, Lotte Lenya. The scholarship is awarded to an acting student who also has
proficiency in singing.
The Helene A. Lindstrom Scholarship, established in by Jennier Lindstrom ’,
honors the memory o her mother, Helene, and is awarded with preerence to women
studying in the Acting or Directing program.
The Victor S. Lindstrom Scholarship was established in by Jennier Lindstrom ’
in memory o her ather, Victor. This scholarship is awarded to Technical Design and
Production students, with preerence to those rom New England.
The Lord Memorial Scholarship, established in in memory o Henrietta Homan
Lord by her mother, Mrs. J. Walter Lord, and riends, is awarded to a emale student at
the School.
The Frederick Loewe Scholarship was established in with a gi rom the Frederick
Loewe Foundation. The scholarship benefits a student studying at the School, with
preerence given to those with an interest in and commitment to musical theater.
The Frederick Loewe Scholarship or Directors in Honor o Floria V. Lasky, established in
with a gi rom the Frederick Loewe Foundation, honors the late Ms. Lasky, a
prominent and influential entertainment lawyer. The scholarship benefits a student in
the Directing program.
The Edward A. Martenson Scholarship was established in by the students, alumni,
colleagues, and riends o Ed Martenson in honor o his ten-year tenure as chair o the
Theater Management program and his lielong dedication to raising the standard o prac-
tice or the field. This scholarship is awarded to students studying Theater Management.
The Virginia Brown Martin Scholarship, established in by Virginia Brown Martin,
preerences those enrolled in the Acting program at the School.
The Stanley R. McCandless Scholarship, established in by Louis Erhardt ’ and
riends, honors the late Mr. McCandless, proessor o stage lighting rom through
, and is awarded to a student in lighting design.
The Alred McDougal and Nancy Lauter McDougal Endowed Scholarship, established in
, preerences actors, playwrights, directors, and designers at the School.
The Tom Moore Scholarship, established in by Tom Moore, a graduate o the
School’s Directing program, is awarded to a third-year student who has explored ideas
and experiences throughout the University.
The Benjamin Mordecai Memorial Scholarship, established in by riends and col-
leagues o Proessor and ormer Associate Dean Benjamin Mordecai, is awarded to
students in the Theater Management program.
The Kenneth D. Moxley Memorial Scholarship was established in through an estate
gi rom alumnus Kenneth D. Moxley ’.
Fellowships and Scholarships
The Alois M. Nagler Scholarship, established in by Richard Beacham ’, D.F.A. ’,
’ YC, is awarded to students in the Dramaturgy and Dramatic Criticism program.
The G. Charles Niemeyer Scholarship, established in through a gi rom the estate o
Grover Charles Niemeyer ’, supports students training at the School.
The Victoria Nolan Scholarship, established in by Jeremy Smith ’ and other
alumni, honors Victoria Nolan, ormer Deputy Dean o the School and Managing Direc-
tor, Yale Repertory Theatre, or her legacy o twenty-seven years o inspired leadership
and distinguished service.
The Dwight Richard Odle Scholarship, established in through a gi rom the estate
o Dwight Richard Odle ’, supports students studying at the School.
The Donald M. Oenslager Scholarship in Stage Design, established in by his widow,
Mary P. Oenslager, honors Proessor Oenslager, an original aculty member who ounded
and chaired the School’s Design program until his retirement in . The Oenslager
Scholarship supports outstanding design students in their third year o study.
The Donald and Zorka Oenslager Scholarship in Stage Design, established in through
an estate gi rom Zorka Oenslager, is awarded to a resident student studying scenic,
costume, or lighting design.
The Eugene O’Neill Memorial Scholarship, established in by alumni, aculty, and
riends o the School, honors the American playwright who received an honorary Doctor
o Literature degree rom Yale University in . The O’Neill Scholarship is awarded
to a student in playwriting.
The Mary Jean Parson Scholarship, established in with estate gis rom alumna
Mary Jean Parson ’ and her mother, Ursula Parson, is awarded with preerence or a
second-year emale directing student.
The Raymond Plank Scholarship in Drama was established in by Deborah Koehler,
successor advisor o the Raymond Plank Donor Advised Fund. The scholarship is
endowed in honor o Raymond Plank, a member o Yale College class o and
ounder o the Ucross artist retreat, to benefit one or more students with demonstrated
financial need.
The Alan Poul Scholarship was established in with a gi rom Alan Poul ’ YC. The
scholarship benefits a student in the Directing program.
The Je and Pam Rank Scholarship was established in by Arthur (Je ) Rank III ’
and Pamela Rank ’. This scholarship supports students with preerence or those in
the Technical Design and Production program.
The Mark J. Richard Scholarship, established in through a bequest rom Mark
Richard ’, is awarded to a student studying playwriting.
The Lloyd Richards Scholarship in Acting, established in by an anonymous donor, is
awarded to a student studying acting.
David Gefen School o Drama –
The Barbara Richter Scholarship, established in through a bequest rom Barbara
Evelyn Richter ’, is awarded each year to a emale student studying theater at the
School.
The Rodman Family Scholarship was established in by Linda Frank Rodman ’
YC, ’ M.A., and Lawrence B. Rodman or the benefit o one or more students, with
preerence or those in their first year o study.
The Pierre-André Salim Scholarship, established in to honor the lie and work o
Pierre-André Salim ’, covers ull tuition and living expenses or one entering student
each year or the duration o the program, and is awarded with first preerence or stu-
dents rom Southeast Asia, and second preerence or students rom elsewhere in Asia,
and with preerence or students in technical theater and design.
The Bronislaw “Ben” Sammler Scholarship was established in by the students,
alumni, colleagues, and riends o Ben Sammler, chair o the Technical Design and
Production program and head o production at Yale Rep, in honor o his orty-three
years o outstanding leadership and service to the School and the field. This scholarship
is awarded to students studying technical design and production.
The Scholarship or Playwriting Students was established in by an anonymous donor
to support one or more students in the Playwriting program.
The Richard Harrison Senie Scholarship, established in through an estate gi rom
Drama alumnus Richard H. Senie ’, is awarded with preerence or students studying
design.
The Daniel and Helene Sheehan Scholarship was established by Michael Sheehan ’ to
support students studying theater management.
The Eugene F. Shewmaker and Robert L. Hurtgen Scholarship Fund, established in
through a bequest rom Eugene F. Shewmaker ’, is awarded each year to one or more
students with demonstrated financial need.
The Shubert Scholarships, unded by the Shubert Foundation, support five third-year
students who demonstrate outstanding ability.
The Howard Stein Scholarship was established by Mr. David Milch ’ YC in honor o
Howard Stein, Associate Dean and Supervisor o the Playwriting program rom
to .
The Ta Family Scholarship was established in by Woody Ta ’ YC to provide
stipends or student living expenses.
The Stephen B. Timbers Family Scholarship or Playwriting was established in through
a generous gi rom Stephen B. Timbers ’ YC and his wie, Elaine, to support students
in the Playwriting program.
The Jennier Tipton Scholarship in Lighting was established in with a gi rom Jennier
Tipton, aculty member in the Design program. The scholarship benefits students study-
ing lighting design.
The Tisdale Family Scholarship was established in with a gi rom Andrew and
Nesrin Tisdale. The scholarship benefits students in the Theater Management program.
The Frank Torok Scholarship was established in by Cli Warner ’ and riends,
colleagues, and ormer students o Frank Torok, who taught in the Directing and Stage
Management programs and also ran the summer theater program at Yale.
The Nancy and Edward Trach Scholarship was established in with a gi rom Edward
Trach ’. This scholarship benefits a third-year student who shows promise in more
than one theatrical discipline.
The Ron Van Lieu Scholarship, established in by the students, alumni, colleagues,
and riends o Ron Van Lieu, is awarded to a student in the Acting program. This schol-
arship honors the extraordinary legacy o Ron Van Lieu, one o the most distinguished
acting teachers in America, and the students he trained in his thirteen years o teaching
at the School.
The Leon Brooks Walker Scholarship, established in by Alma Brooks Walker in
memory o her son, Leon ’ YC, assists acting students.
The Richard Ward Scholarship, established in through an estate gi rom Virginia
Ward in honor o her late husband, is awarded to a minority student studying theater
at the School.
The Zelma Weiseld Scholarship or Costume Design, established in by Zelma Weiseld
’, is awarded to second- and third-year students in the Design program, with preer-
ence given to students specializing in costume design.
The Constance Welch Memorial Scholarship was established in by ormer students
and riends in memory o Constance Welch, who originated the Acting program at the
School, where she taught rom to . This scholarship is awarded to a student
in acting.
The Rebecca West Scholarship was established in by Mrs. Katherine D. Wright in
honor o Dame Rebecca West, whose remarkable literary career spanned seven decades.
The Audrey Wood Scholarship, established in by the riends o Miss Wood to honor
her legendary career as a literary agent to many o America’s most important new play-
wrights, is awarded to students in the Playwriting program.
The Board o Advisors Scholarship was established in with a gi rom the School’s
Board o Advisors in recognition o the eorts o James Bundy ’, the Elizabeth Parker
Ware Dean o David Geen School o Drama, on behal o the students at the School.
The Albert Zuckerman Scholarship in honor o John Gassner was established in with a
gi rom Albert Zuckerman ’. The scholarship benefits a student studying playwriting
or dramaturgy and dramatic criticism.
Fellowships and Scholarships
Prizes, –
The ASCAP Cole Porter Prize is awarded to students o the School or excellence in writ-
ing. Awarded to a.k. payne.
The Edward C. Cole Memorial Award is sponsored by the Technical Design and Produc-
tion Class o to commemorate the contributions o Edward C. Cole to the proession
o technical theater. The recipients o this award, selected by their classmates in the
graduating class o the Technical Design and Production program, best exempliy the
ingenuity, creativity, crasmanship, and dedication to the art o theater that are the
hallmarks o the theater technician. Awarded to Andrew David Riedemann.
The Carol Finch Dye Prize, unded by Charles Finch in memory o his sister Carol Finch
Dye ’, is awarded to a graduating Acting student in recognition o artistry and com-
mitment. Awarded to Olivia Cygan.
The John W. Gassner Memorial Prize is awarded or the best critical essay, article, or review
by a student published in, or submitted to, Theater magazine. Awarded to Gabrielle
Hoyt.
The Bert Gruver Memorial Prize is awarded to students o the School or excellence in
stage management. Awarded to Aisling Galvin and Andrew Francis Petrick.
The Allen M. and Hildred L. Harvey Prize, established by Jean L. Harvey to recognize
superior work and writing by Technical Design and Production students, is awarded to
the student author o the best article in Technical Brie and/or the best Technical Design
and Production research thesis. Awarded to Jen Seleznow.
The Alan Hendrickson Award, established by Technical Design and Production alumni,
is awarded to a student who exemplifies curiosity, artistry, ingenuity, and patience.
Awarded to Andrew David Riedemann.
The Morris J. Kaplan Prize is given to the graduating theater management student who
most exhibits the integrity, commitment, and selfless dedication to high standards in the
proession o nonprofit theater management that characterized Morris Kaplan’s twenty-
year career as ounding counsel to the League o Resident Theaters. Awarded to Sarah
Elizabeth Scafidi.
The Julian Milton Kauman Memorial Prize, established by Lily P. Kauman in memory o
her husband, Julian Kauman, a alumnus o the Directing program who, through
teaching at the secondary and university levels, touched the lives o countless young
people, is awarded to a graduating directing student who has demonstrated talent in the
chosen field o endeavor. Awarded to Jacob Basri.
The Jay Keene and Jean Grin-Keene Prize is awarded to a student o the School who is
studying costume design. Awarded to Travis Christopher Chinick.
The Leo Lerman Graduate Fellowship in Design, given by riends o the late Mr. Lerman
and the Samuel I. Newhouse Foundation, Inc., is awarded to students o costume design
or the purpose o enabling them to study internationally upon their graduation rom the
School. Awarded to Kyle Artone, Katherine Carroll Cassetti, and Aidan Anne Griths.
The Dexter Wood Luke Memorial Prize, established by Jane Kaczmarek ’, is awarded to
graduating students whose sense o curiosity and sense o joy have enriched the lives o
their colleagues at the School. Awarded to Ashley Mildred Thomas.
The Donald and Zorka Oenslager Travel Fellowship, established in through an estate
gi rom Zorka Oenslager, is awarded to design students who wish to study internation-
ally upon graduation. Awarded to Emeline Wong Finckel.
The Pierre-André Salim Prize is awarded to graduating students whose artistry, proes-
sionalism, collaborative energy, and commitment to the community have inspired their
colleagues, and who show distinct promise o raising the standard o practice in the field.
Awarded to Abigail Chinazam Onwunali.
The Bronislaw (Ben) Sammler Mentorship Award, established by the Class o , honors
graduating Technical Design and Production students who, through action, attitude, or
inspiration, have motivated their ellow classmates. The honorees are selected by the
first- and second-year Technical Design and Production students. Awarded to Andrew
David Riedemann.
The Frieda Shaw, Dr. Diana Mason OBE, and Denise Suttor Prize or Sound Design is awarded
to graduating students in Sound Design to recognize distinctive breadth o achievement,
artistry, and leadership. Awarded to Evdoxia Ragkou and Bryn Scharenberg.
The Oliver Thorndike Acting Award, established by Mrs. Nathaniel S. Simpkins, Jr.,
and supplemented by gis rom her son, Nathaniel Simpkins III, in memory o Oliver
Thorndike Simpkins, whose stage name was Oliver Thorndike, is awarded annually to
actors at the School who best exempliy the spirit o ellowship, cooperation, and devo-
tion to the theater that characterized Mr. Thorndike. Awarded to Ehinomen Amajuoritse
Okojie.
The George C. White Prize is awarded annually to a graduating student whose work at the
School most closely demonstrates the distinctive qualities o George C. White, including
appreciation or the value o arts throughout the world, curiosity about the people and
events shaping our cultural heritage, respect or creative production management, and
congeniality toward colleagues. Awarded to Jason Thomas Gray.
The Herschel Williams Prize, established by Mr. Williams, who was a member o the first
class accepted in Drama at Yale, is awarded to acting students with outstanding ability.
Awarded to Abigail Chinazam Onwunali.
Prizes, –
Enrollment, –
*
*In residence
Rebecca Adelsheim
Molly FitzMaurice
Sophie Greenspan
Lily Haje
Evan Hill
Jisun Kim
Kari Olmon
Madeline Pages
Henriëtte Rietveld
Nick Ruizorvis
Ariel Sibert
Sophie Siegel-Warren
Emily Sorensen
Ashley M. Thomas
Alex Vermillion
Patrick Young
Faith Zamblé
Fourth Year
Omid Akbari
Garrett Allen
Risa Ando
Whitney Andrews
Nakia Avila
Nic Benavides
Augustine Bruhns
Luke Bulatowicz
Aholibama Castañeda González
Alexus Coney
Michael Craword
Samanta Cubias
David DeCarolis
Jason Dixon
Sam Douglas
Giovanna Drummond
TF Dubois
Sebastián Eddowes Vargas
B Entsminger
Sawon Farmer
Rebecca Flemister
Sydney Garick
Hannah Gellman
Karl Green
Annabel Guevara
John Horzen
Gabrielle Hoyt
Jake Hurwitz
Lucas Iverson
Malik James
Luanne Jubsee
Karen Killeen
Natalie King
Chloe Knight
Joe Krempetz
Steani Kuo
Chloe Liu
Janiah Lockett
Miguel Lopez
Nat Lopez
Charlie Lovejoy
Stan Mathabane
Charles Meier
Max Monnig
Bobbin Ramsey
Caro Reyes Rivera
Doug Robinson
Rebeca Robles
A.J. Roy
Suzu Sakai
Jacob Santos
Kiyoshi Shaw
Yu-Jung Shen
Sam Skynner
Danielle Stagger
Lia Tubiana
Cameron Waitkun
Mike Winch
Amelia Windom
Enrollment, –
Sammy Zeisel
Kim Zhou
Yichen Zhou
Second Year
Twaha Abdul Majeed
Fanny Abib-Rozenberg-Chasman
Edoardo Benzoni
Patrick Blanchard
Rea Brown
Steph Burke
Caroline Campos
Sophia Carey
Silin Chen
Anne Ciarlone
Joyce Ciesil
Josie Cooper
Mariah Copeland
Ida Cuttler
Kino Dick Alvarez
Hope Ding
Nickie Dubick
Law Dunord
KT Farmer
Adam Foster
Cian Jaspar Freeman
Sarah Machiko Haber
Messiah Hagood-Barnes
Adrian Hernandez
Chloe Howard
Shyama Iyer
Keira Jacobs
Kemar Jewel
Hannah Jones
Comort Katchy
Erik Keating
Christian Killada
Ein Kim
Minjae Kim
Ariyan Kassam
Jeremy Landes
Matteo Lanzarotta
Ramona Li
Aura Magnien
Juliana Carreño
Jahsiah Mussig
Micah Ohno
Adam Orme
Doaa Ou
Chinna Palmer
Ankit Pandey
Patti Panyakaew
Shawn Poellet
Tojo Rasedoara
Grayson Richmond
Austin Rielmacher
M.L. Roberts
Anna Roman
Colleen Rooney
Roman Sanchez
Tre Scott
Kamal Sehrawy
Maya Louise Shed
John Simone
Kyle Stamm
Mikayla Stanley
Theo Sung
Leo Surach
Alex Theisen
Caroline Tyson
Andrew Aaron Valdez
Marlon Alexander Vargas
Ellora Venkat
Karoline Vielemeyer
Lauren Walker
TJ Wildow
Arthur Wilson
Alexis Woodard
George Zhou
First Year
Lolade Agunbiade
Andreas Andreou
Tricie Bergmann
Emilee Biles
Steven Blasberg
Mara Bredovskis
Emily Breeze
Jasmine Brooks
Hieu Bui
Claudia Campos
Jennier Cao
Katie Chance
Celia Chen
David Gefen School o Drama –
Joy Chen
Matthew Chong
Tyler Clarke-Williams
Shannon Dodson
Rosie Donoghue
Constant Dzah
Wiktor Freield
Gib Gibney
Lilliana Gonzalez
Rethabile Headbush
Cathy Ho
Iyanna Hungton
Amrith Jayan
Rosemary Jones
Daria Kerschenbaum
Elliot Lee
Zoey Lin
Sarah Lo
Steph Lo
Juice Mackins
Gretta Marston-Lari
Victoria McNaughton
Destyne Miller
Thomas Minucci
Francisco Morandi Zerpa
Allison Morgan
T Morris-Thompson
Thomas Nagata
Bella Orobaton
Larry Ortiz
Georgia Petersen
Matthew Phillips
Caileigh Potter
Laize Qin
Abraham Rebollo
Andrew Rincón
Anthony Robles
Erik Robles
Ty Ruwe
Lara Sachdeva
Michael Saguto
Sarah Saifi
Darius Sakui
Mitra Seyedi
Max Sheldon
Kavya Shetty
Tia Smith
Emma Steiner
Kristen Taylor
Henita Telo
Yun Wu
Ke Xu
Taylor Ybarra
Fourth Year
Ro Burnett
Eugenio Sáenz Flores
Second Year
Cindy De La Cruz
Constanza Etchechury López
First Year
Jessie Baldinger
Karen Loewy Movilla
Danielle Cutting
Nicole Goldstein
Amani Jaramoga
Destany Langfield
Isaac Lau
Robert Salerno
Laam Tsang
Annie Wang
Melvin James Anderson
Han Mao
Samantha Shay
Enrollment, –
Departmental Summary
Doctor of Fine Arts
Acting
Fourth-Year Class
Second-Year Class
First-Year Class
Design
Fourth-Year Class
Second-Year Class
First-Year Class
Directing
Fourth-Year Class
Second-Year Class
First-Year Class
Dramaturgy and Dramatic Criticism
Fourth-Year Class
Second-Year Class
First-Year Class
Playwriting
Fourth-Year Class
Second-Year Class
First-Year Class
Stage Management
Fourth-Year Class
Second-Year Class
First-Year Class
Technical Design and Production
Fourth-Year Class
Second-Year Class
First-Year Class
Theater Management
Fourth-Year Class
Second-Year Class
First-Year Class
Technical Internship
David Gefen School o Drama –
General Summary
Candidates or the D.F.A. Degree (in residence)
Candidates or the M.F.A. Degree
Fourth-Year Class
Second-Year Class
First-Year Class
Candidates or the Certificate in Drama
Candidates or the Technical Internship Certificate
Special Student
Special Research Fellows
Total number o students registered
Geographical Distribution
One student rom each state or country unless otherwise noted.
United States
Caliornia ()
Colorado ()
Connecticut ()
District o Columbia ()
Florida ()
Georgia ()
Illinois ()
Iowa
Indiana
Kentucky
Maryland ()
Massachusetts ()
Minnesota ()
Missouri
New Jersey ()
New Mexico
New York ()
North Carolina ()
Ohio ()
Oregon ()
Pennsylvania ()
Puerto Rico
Rhode Island ()
South Carolina ()
Tennessee
Texas ()
Utah ()
Virginia ()
Washington ()
Wisconsin
Foreign Countries
Austria
Canada ()
China ()
Colombia
Egypt
France ()
Germany ()
Ghana
Greece
Hong Kong ()
India ()
Iran ()
Ireland
Japan ()
Korea, Republic o ()
Mexico ()
Pakistan
Peru
Poland
South Arica
South Korea ()
Taiwan ()
Thailand ()
Trinidad and Tobago
United Kingdom
The Work o Yale University
The work o Yale University is carried on in the ollowing schools:
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leading to Doctor o Medicine and Master o Health Science (M.D./M.H.S.). Combined
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Master o Environmental Design (M.E.D.). Doctor o Philosophy (Ph.D.) awarded by
the Graduate School o Arts and Sciences.
For additional inormation, please visit https://www.architecture.yale.edu, email
gradarch.admissions@yale.edu, or call ... Postal correspondence should be
directed to the Yale School o Architecture, PO Box , New Haven CT -.
School of Nursing Est. . Courses or college graduates. Master o Science in Nurs-
ing (M.S.N.), Post Master’s Certificate (P.M.C.), Doctor o Nursing Practice (D.N.P.).
Doctor o Philosophy (Ph.D.) awarded by the Graduate School o Arts and Sciences.
For additional inormation, please visit https://nursing.yale.edu or call ...
Postal correspondence should be directed to Yale School o Nursing, Yale University
West Campus, PO Box , West Haven CT -.
David Geen School of Drama Est. . Courses or college graduates and certificate
students. Master o Fine Arts (M.F.A.), Certificate in Drama, Doctor o Fine Arts
(D.F.A.).
For additional inormation, please visit https://drama.yale.edu, email dgsd.admissions
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dence should be directed to David Geen School o Drama at Yale University, PO Box
, New Haven CT -.
School of Management Est. . Courses or college graduates. Master o Business
Administration (M.B.A.), Master o Advanced Management (M.A.M.), Master o Man-
agement Studies (M.M.S.). Doctor o Philosophy (Ph.D.) awarded by the Graduate
School o Arts and Sciences.
For additional inormation, please visit https://som.yale.edu. Postal correspondence
should be directed to Yale School o Management, PO Box , New Haven CT
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Jackson School of Global Aairs Est. . Courses or college graduates. Master in
Public Policy (M.P.P.) and Master o Advanced Study (M.A.S.).
For additional inormation, please visit https://jackson.yale.edu, email jackson.
[email protected], or call ...
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Continued on next page
NORTH
<
Arnold
Hall
81
294-
296
160
301
3
Lincoln Street
Whitney Avenue
Wall Street
Trumbull Street
Prospect Street
Hillhouse Avenue
Mansfield Street
Compton Street
Woodland Street
Canal Street
Sachem Street
Whitney Avenue
Edwards Street
Bishop Street
Humphrey Street
Prospect Street
Lock Street
Webster Street
Bristol Street
Winchester Avenue
Winchester Avenue
Hillside Place
Ashmun Street
York S quare Place
Lake Place
Broadway
Elm Street
Chapel Street
Temple Street
Temple Street
Temple Street
College Street
Broadway
Edgewood Avenue
Crown Street
Chapel Street
York Street
York Street
North Frontage Road
College Street
Park Street
Howard Avenue
Vernon Street
Ward Street
Sylvan Avenue
Davenport Avenue
Gilbert Street
Congress Avenue
Washington Avenue
Cedar Street
Liberty Street
Amistad Street
Church Street South
Gold Street
Lafayette Street
South Frontage Road
Grove Street
George Street
High Street
Tower Parkway
Lynwood Place
Howe Street
St. Ronan Street
Canner Street
Cottage Street
Orange Street
Orange Street
Bradley Street
Audubon Street
Lawrence Street
Church Street
Church Street
York Street
Park Street
Prospect Street
Elm Street
Edwards Street
Munson Street
Tilton Street
Canal Street
HEWITT
QUAD
NEW HAVEN GREEN
OLD CAMPUS
CROSS CAMPUS
GROVE STREET
CEMETERY
Jonathan
Edwards
Trumbull
Berkeley
Silliman
Davenport
Saybrook
Branford
Grace
Hopper
Timothy
Dwight
Pierson
Berkeley
Ezra
Stiles
Morse
from I-91 & I-95
from I-91
to Yale
Athletic
Fields
to
Science
Park
Lo ck
Street
Ga rage
Yale
He alt h
Ce nte r
36 0
Le itn er
Ob ser vator y &
Pl ane tar ium
129
12 3
129
157
55
1
Mason Lab
17
Helen
Hadley Hall
Leet
Oliver
24
Watson
Hall
Malone
Engineering
Center
77
28
SSS
Kirtland
Dunham
Lab
Becton
38
230
Ingalls
Rink
Prospect-
Sachem
Garage
30
46
Steinbach
Hall
T.M.
Evans
Hall
35
37
President’s
House
51
Horchow
Hall
10
36
121
Founders
Hall
Rose
Center
(Yale
Police)
Osborn
Lab
Sloane
Physics
Lab
Kline
Tower
Kline
Chemistry
Lab
Class of 1954
Chemistry
Research Building
Sage
Hall
Sterling
Chemistry
Lab
Wright
Lab
Wright
Lab
Connector
Wright
Lab West
Pierson-Sage Garage
Bass Center
380
340
309
175
301
Watson
Center
205
276
254
314
310
Luce
Hall
87
Sterling
Divinity
Quadrangle
Marquand
Chapel
Greeley
Memorial Lab
Marsh Hall
Bellamy
Marsh
Botanical
Garden
to
344
Winchester
Yale
Farm
Farnam
Memorial
Garden
Central
Power
Plant
Baker
Hall
Payne
Whitney
Gym
Lanman
Center
Ray Tompkins
House
Humanities
Quadrangle
Yale
Bookstore
Beinecke
Library
Schwarzman
Center
Woolsey
Hall
Woodbridge
Hall
Sprague
Hall
Sterling
Memorial
Library
246
Leigh
Hall
451
459
Stoeckel
Hall
Hendrie
Hall
Adams
Center
82-90
66
320
Yale
Press
302
143
53
Street
Hall
Vanderbilt
Bingham
Linsly-
Chittenden
McClellan
Connecticut
Hall
Dwight
Hall
Welch
Lawrance
Phelps
Farnam
Battell
Chapel
Durfee
Yale Station
Post Oce
Lanman-
Wright
Harkness
Tower
Art
Gallery
Sculpture
Garden
Rudolph
Hall
205
202
215
Green
Hall
Howe
Street
Garage
353
204
University
Theatre
Rose
Alumni
212
217
32
36
220
149
305
Repertory
Theatre
150
York
Latino
Cultural
Center
301
Native American
Cultural Center
26
295
Asian American
Cultural Center
405
442
432-4
Air Rights
Parking Facility
Center for
British Art
493
Warner
House
Dow
Hall
27
Allwin Hall
85
270
Bass
Library
WLH
15
433
421
International
Center
80
Slifka
Undergrad
Admissions
Visitor
Center
149
195
250
350
Whitney
Grove
Square
Curtis
Fisher
221
Whitney
Avenue
Garage
Kline
Geology Lab
Peabody
Museum
210
Class of 1954
Environmental
Science
Center
Evans
Hall
100 Church
Street South
Amistad
Street
Garage
10
459
55
341-47
Betts
House
O
Broadway
Theater
35
Broadway
Music
Library
Rosenfeld
Hall
202
Connecticut
Mental Health
Center
34
Children’s
Hospital:
West Pavilion
Yale-New Haven
Hospital:
East Pavilion
Hospital:
South
Pavilion
ESH
ICDU
NIHB
CSC
Cancer
Center
Harkness
Auditorium
LEPH
Medical
Library
Sterling Hall
of Medicine
NSB
Hunter
WWW
CB
BB
BML
Lauder
LMP
LLCI
MRC/
PET
FMP
Dana
Clinic
Howard Ave.
Garage
Yale
Physicians
Building
TE
TMP
Primary
Care Ctr
464 & 430
FMB
LSOG
Anlyan
Center
SPP
College
Place
127
135
153
60
40
300
100
College
Pierce
Laboratory
270
132
Yale-New Haven
Psychiatric
Hospital
Congress
Place
BCMM
Hope
St. Thomas
More Chapel
Golden
Center
Afro-American
Cultural Center
211
2 Church
Street
South
Miller
Hall
Loria
Center
70
Sterling
Law
Building
Kroon
Hall
SW Service
Node
204
238
1201
1221
Greenberg
Conference
Center
Rosenkranz
Hall
Pauli
Murray
Benjamin
Franklin
96
25
Science
Park
28
SPPC
Smilow
Cancer
Hospital
Air Rights
Parking Facility
111
100
Dixwell
Goe
350
272
Yale
Science
Building
Tsai
CITY
yale university campus south & yale medical center
© Yale University. Map not to scale
NORTH
<
Arnold
Hall
81
294-
296
160
301
3
Lincoln Street
Whitney Avenue
Wall Street
Trumbull Street
Prospect Street
Hillhouse Avenue
Mansfield Street
Compton Street
Woodland Street
Canal Street
Sachem Street
Whitney Avenue
Edwards Street
Bishop Street
Humphrey Street
Prospect Street
Lock Street
Webster Street
Bristol Street
Winchester Avenue
Winchester Avenue
Hillside Place
Ashmun Street
York S quare Place
Lake Place
Broadway
Elm Street
Chapel Street
Temple Street
Temple Street
Temple Street
College Street
Broadway
Edgewood Avenue
Crown Street
Chapel Street
York Street
York Street
North Frontage Road
College Street
Park Street
Howard Avenue
Vernon Street
Ward Street
Sylvan Avenue
Davenport Avenue
Gilbert Street
Congress Avenue
Washington Avenue
Cedar Street
Liberty Street
Amistad Street
Church Street South
Gold Street
Lafayette Street
South Frontage Road
Grove Street
George Street
High Street
Tower Parkway
Lynwood Place
Howe Street
St. Ronan Street
Canner Street
Cottage Street
Orange Street
Orange Street
Bradley Street
Audubon Street
Lawrence Street
Church Street
Church Street
York Street
Park Street
Prospect Street
Elm Street
Edwards Street
Munson Street
Tilton Street
Canal Street
HEWITT
QUAD
NEW HAVEN GREEN
OLD CAMPUS
CROSS CAMPUS
GROVE STREET
CEMETERY
Jonathan
Edwards
Trumbull
Berkeley
Silliman
Davenport
Saybrook
Branford
Grace
Hopper
Timothy
Dwight
Pierson
Berkeley
Ezra
Stiles
Morse
from I-91 & I-95
from I-91
to Yale
Athletic
Fields
to
Science
Park
Lo ck
Street
Ga rage
Yale
He alt h
Ce nte r
36 0
Le itn er
Ob ser vator y &
Pl ane tar ium
129
12 3
129
157
55
1
Mason Lab
17
Helen
Hadley Hall
Leet
Oliver
24
Watson
Hall
Malone
Engineering
Center
77
28
SSS
Kirtland
Dunham
Lab
Becton
38
230
Ingalls
Rink
Prospect-
Sachem
Garage
30
46
Steinbach
Hall
T.M.
Evans
Hall
35
37
President’s
House
51
Horchow
Hall
10
36
121
Founders
Hall
Rose
Center
(Yale
Police)
Osborn
Lab
Sloane
Physics
Lab
Kline
Tower
Kline
Chemistry
Lab
Class of 1954
Chemistry
Research Building
Sage
Hall
Sterling
Chemistry
Lab
Wright
Lab
Wright
Lab
Connector
Wright
Lab West
Pierson-Sage Garage
Bass Center
380
340
309
175
301
Watson
Center
205
276
254
314
310
Luce
Hall
87
Sterling
Divinity
Quadrangle
Marquand
Chapel
Greeley
Memorial Lab
Marsh Hall
Bellamy
Marsh
Botanical
Garden
to
344
Winchester
Yale
Farm
Farnam
Memorial
Garden
Central
Power
Plant
Baker
Hall
Payne
Whitney
Gym
Lanman
Center
Ray Tompkins
House
Humanities
Quadrangle
Yale
Bookstore
Beinecke
Library
Schwarzman
Center
Woolsey
Hall
Woodbridge
Hall
Sprague
Hall
Sterling
Memorial
Library
246
Leigh
Hall
451
459
Stoeckel
Hall
Hendrie
Hall
Adams
Center
82-90
66
320
Yale
Press
302
143
53
Street
Hall
Vanderbilt
Bingham
Linsly-
Chittenden
McClellan
Connecticut
Hall
Dwight
Hall
Welch
Lawrance
Phelps
Farnam
Battell
Chapel
Durfee
Yale Station
Post Oce
Lanman-
Wright
Harkness
Tower
Art
Gallery
Sculpture
Garden
Rudolph
Hall
205
202
215
Green
Hall
Howe
Street
Garage
353
204
University
Theatre
Rose
Alumni
212
217
32
36
220
149
305
Repertory
Theatre
150
York
Latino
Cultural
Center
301
Native American
Cultural Center
26
295
Asian American
Cultural Center
405
442
432-4
Air Rights
Parking Facility
Center for
British Art
493
Warner
House
Dow
Hall
27
Allwin Hall
85
270
Bass
Library
WLH
15
433
421
International
Center
80
Slifka
Undergrad
Admissions
Visitor
Center
149
195
250
350
Whitney
Grove
Square
Curtis
Fisher
221
Whitney
Avenue
Garage
Kline
Geology Lab
Peabody
Museum
210
Class of 1954
Environmental
Science
Center
Evans
Hall
100 Church
Street South
Amistad
Street
Garage
10
459
55
341-47
Betts
House
O
Broadway
Theater
35
Broadway
Music
Library
Rosenfeld
Hall
202
Connecticut
Mental Health
Center
34
Children’s
Hospital:
West Pavilion
Yale-New Haven
Hospital:
East Pavilion
Hospital:
South
Pavilion
ESH
ICDU
NIHB
CSC
Cancer
Center
Harkness
Auditorium
LEPH
Medical
Library
Sterling Hall
of Medicine
NSB
Hunter
WWW
CB
BB
BML
Lauder
LMP
LLCI
MRC/
PET
FMP
Dana
Clinic
Howard Ave.
Garage
Yale
Physicians
Building
TE
TMP
Primary
Care Ctr
464 & 430
FMB
LSOG
Anlyan
Center
SPP
College
Place
127
135
153
60
40
300
100
College
Pierce
Laboratory
270
132
Yale-New Haven
Psychiatric
Hospital
Congress
Place
BCMM
Hope
St. Thomas
More Chapel
Golden
Center
Afro-American
Cultural Center
211
2 Church
Street
South
Miller
Hall
Loria
Center
70
Sterling
Law
Building
Kroon
Hall
SW Service
Node
204
238
1201
1221
Greenberg
Conference
Center
Rosenkranz
Hall
Pauli
Murray
Benjamin
Franklin
96
25
Science
Park
28
SPPC
Smilow
Cancer
Hospital
Air Rights
Parking Facility
111
100
Dixwell
Go
e
350
272
Yale
Science
Building
Tsai
CITY
Series 119 Number 14 August 30, 2023 ( -)
is published seventeen times a year (once in May and October, twice in September, three
times in June, our times in July, six times in August) by Yale University, Whitney
Avenue, New Haven CT . Periodicals postage paid at New Haven, Connecticut.
Postmaster: Send address changes to Bulletin o Yale University,
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Managing Editor: Kimberly M. Go-Crews
Editor: Steve Aitken
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The closing date or material in this bulletin was July , .
The University reserves the right to amend or supplement the inormation published
in this bulletin at any time, including but not limited to withdrawing or modiying the
courses o instruction or changing the instructors.
© by Yale University. All rights reserved. The material in this bulletin may not
be reproduced, in whole or in part, in any orm, whether in print or electronic media,
without written permission rom Yale University.
Website
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The David Geen School o Drama Bulletin is primarily a digital publication, avail-
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printed on postconsumer recycled paper or the School and the permanent archive
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on-demand basis; please contact Yale Printing and Publishing Services, ...
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ally, in accordance with Yale’s Policy Against Discrimination and Harassment (https://
your.yale.edu/policies-procedures/policies/-yale-university-policy-against-
discrimination-and-harassment), Yale does not discriminate in admissions, educational
programs, or employment against any individual on account o that individual’s sex;
sexual orientation; gender identity or expression; race; color; national or ethnic origin;
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rity policies and procedures and prepares an annual campus security and fire saety report
containing three years’ worth o campus crime statistics and security policy statements,
fire saety inormation, and a description o where students, aculty, and sta should go
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rent fire saety practices and any fires that occurred within on-campus student housing
acilities. Upon request to the Yale Police Department at .., the University
will provide this inormation to any applicant or admission, or to prospective students
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also available online at http://ope.ed.gov/athletics.
For all other matters related to admission, please contact David Geen School of Drama at
Yale University, Registrar’s Oce, PO Box 208325, New Haven CT 06520-8325; telephone,
203.432.1507; email, [email protected]; website, https://drama.yale.edu.
David Geen
School o Drama
–
Series 119 Number 14 August 30, 2023
New Haven -
Periodicals postage paid
New Haven, Connecticut
David Geen School o Drama –
