Final Deadline

Please remember that everything is due tomorrow, Thursday, August 7, by 12:00 noon.

Also, if you have improved (or completed) an earlier assignment and want me to revisit and regrade it, then send me an e-mail telling me what to look for: dam005@shsu.edu. (Remember that whatever your new grade is, you still lose a letter grade for being late.)

Please do not submit anything via BlackBoard.

If you are doing your Educator's Packet in MSWord, then e-mail it to me at dam005@shsu.edu.

If you are turning in a hard copy of anything, please turn it in to the main office in UTC no later than 12:00 noon on Thursday.

I hope to have grades finished and posted by 5:00 p.m. tomorrow (Thursday).

Class on Monday, August 4

I have to go to the doctor this morning and won't be able to make class. The CJ lab is reserved from 10-12 noon for you. Please work on your final assignments during that time. See you on Tuesday.

Deadline Postponed

The deadline for the Week 4 assignments has been postponed to this Sunday, August 3, at noon.

Substitution for Design Assignment

If you cannot find (enough) materials for the "Production Design" assignment you may substitute the following:

Special Topic: Name Provided By You

Pick one topic or theme in your play that the production team needs to understand. (Examples: LDS/Mormonism and Angels in America; Fashion and Regrets Only; Mental Health Care and The Boys Next Door.)

Identify, describe in complete sentences, and link 5 online resources that will help your team understand this special topic.

Links for Class Discussion

Terry McCabe on "The Production Dramaturg"
My argument is not really an attack on dramaturgs. There are many excellent dramaturgs, just as there are many excellent designated hitters in the American League. But the designated hitter rule, because it creates an unnecessary team member, is a disservice to baseball, and the emergence of the dramaturg as a distinct position is likewise a disservice to the theater. Independent of the performance of individual dramaturgs, it has this harmful effect: it puts distance between the director and the play.
http://mrexcitement.blogspot.com/2007_01_14_archive.html

Dramaturg's Network
http://ee.dramaturgy.co.uk/index.php/site/front/

Dark Knight Dramaturgy for Moliere's The Misanthrope
http://darkknightdramaturgy.wordpress.com/category/misanthrope/

Criticism and Dramaturgy: Frank Rich's Review of Angels in America
http://theater2.nytimes.com/mem/theater/treview.html?_r=2&html_title=&tols_title=ANGELS%20IN%20AMERICA:%20MILLENIUM%20APPROACHES%20(PLAY)&pdate=19930505&byline=By%20FRANK%20RICH&id=1077011429136&oref=slogin&oref=login

Final Assignments

Your final assignments are due by noon on Thursday, August 7.

10% Educator's Packet

This is a packet of materials that you would send to a class or school (you determine the level) planning to attend a performance of your play. There is no one "right" way to prepare a packet. While you may base your packet on one posted in "Educational Guides: Samples," you must include the following (this section counts 5%):

--the basic facts of the script
--an introduction to the plot and its characters
--an introduction to the author
--a brief production history with excerpts from reviews

All of these are materials you have created already; however, you will need to edit them to cater to your target audience.

In addition, (1) you will create and include a preparatory classroom exercise (something to do and discuss) before the class attends the performance as well as (2) a list of 5 questions that will be included in the Q&A with the director and production team following the performance. (This additional section counts 5%.)

In real life, you likely would mail a hard copy to the class. For this project you will share everything in a single post on your blog. (So everyone in the class can see what you've come up with.)

10% Dramaturg's Statement

This is a brief essay in your own words (about 700-750 of them written in complete sentences and organized into paragraphs) that summarizes your understanding of the script from a dramaturg's perspective. This is not a production concept but rather what you would want to share early in the design process with the production team stemming from your research and reflection. This statement includes what you think are the most important ideas and problems that must be addressed and solved by the production. (You probably discovered many of these problems in comments made by the critics in the their reviews.)

5% Resources & Links

This final post on your blog includes what you think are the 5 most important online resources that need to be explored by the production team. For each, include a title, brief description of what this site is and why it is so valuable, and an active link.

Educational Guides: Samples

East Bay Children's Theatre: Rumplestiltskin
http://www.childrens-theatre.org/images/Rumpel%20Ed%20Packet.pdf

Blue Man Group
http://www.blueman.com/files/BM_EDPressKit.pdf

Deaf West Theatre: Big River
http://www.deafwest.org/productions/br_discoveryguide.pdf

Folger Shakespeare Library: Romeo & Juliet
http://www.simonsays.com/assets/series/859/CG17_859.pdf

SUNY Osego: A Doll's House
http://www.oswego.edu/academics/colleges_and_departments/departments/theatre/performance/0708/Dolls%20House%20Ed%20Packet.html

Coterie Theatre: In Spite of Thunder: The Macbeth Project
http://www.coterietheatre.org/MCP%20Resource%20Guide.pdf

Class: Monday, July 28

10:00
discussed remaining projects
explored online design resources
viewed 30+ interpretations of Tartuffe
11:00
began work on Week 4 assignments

Design Resources

British Designers
The Society of British Theatre Designers
http://www.theatredesign.org.uk/

German Designers
Goethe-Institut
http://www.goethe.de/kue/the/bbr/enindex.htm

Individual U.S. and Canadian Designers

Glen Anderson
http://www.andersonportfolio.com/Portfolio.htm

Andrea Bechert
http://www.scorpiondesigns.net/gallery.html

Daniel Conway
http://www.conwaydesign.com/clients/conwayd/nav/frameset.shtml

Kim Ehler
http://kimdesign.info/

Karl Eigsti
http://www.karleigsti.com/clients/eigstik/nav/frameset.shtml

Antje Ellermann
http://antjeellermann.com/portfolio.php

Richard Finkelstein
http://www.rfdesigns.org/

Kent Goetz
http://www.arts.cornell.edu/theatrearts/kgoetz/

J Michael Griggs
http://www.people.fas.harvard.edu/~jmgriggs/portfolio.html

Jeremy Hopgood
http://www.jeromyhopgood.com/index.html

Misha Kachman
http://www.mishakachman.com/clients/kachmanm/nav/frameset.shtml

Timothy McCormick
http://www.timothymccormick.com/digital_portfolio.htm

Kade Mendelowitz
http://www.alaskasbest.com/kade/pro.htm

Nicole Pearce
http://www.nicolepearcedesign.com/TheaterPortfolio.htm

Ryan Scott
http://www.ryanscottscenicdesign.com/thumb_links/thumbs_photos.html

Q Brian Sickels
http://home.ptd.net/~bsickels/new_ref.html

Kim A. Tolman
http://www.kimtolmandesign.com/portfolio.htm

Week 4 Assignments

Productions (due noon Friday, August 1)

5% Production History
Identify 5 productions of your play. For each, provide:

• venue (theatre), city, state
• run dates
• producing agent or producer, director
• designers
• actors in lead roles
• your own annotation or description about what best characterizes this production or what makes it notable or memorable (this needs to be in complete sentences in your own words--no copy and paste for this)

5% Reviews
Find one review for each of these productions (5 total productions, 5 total reviews). For each review, provide:

• title of article, author, print source/publication, date
• full text (if it's really long, just include the most interesting parts)
• citation and link

5% Production Photos
Find 5 photos for 5 different productions of your play (5 total photos, 5 total productions). It's okay if these are not the same productions as in your history. For each, provide a caption that includes:

• producing theatre, city, state
• year
• director
• designers' names (and areas)
• and an active link

5% Production Designs
Find 5 total images (plates, renderings, thumbnails, elevations, digital illustrations, etc.) representing the design process for one or more of these productions. Yes, all 5 may be from the same production, but a variety of productions would be more interesting. For each, identify:

• designer(s)
• producing theatre, city, state
• director
• year
• and an active link

Week 3 Assignments: 24-Hour Postponement

Due to the day lost when the server was down, your Week 3 assignments are now due this Saturday by noon.

Class: Thursday, July 24

10:00
library tour part 2:
life before the internet
indices, bound periodicals, archives
Thomason Room
11:00
continued working on Week 3 assignments

Class: Wednesday, July 23

10:00
explored all links on "Finding the World of the Play"
11:00
worked on Week 3 assignments

Class: Tuesday, July 22

10:00
analysis of Scene 1 of Scenes from an Execution
11:00
server down: everyone will work at home on Week 3 assignments

if you were absent today, you'll only have to make up one (1) hour

Class: Monday, July 21

10:00
applying research to understand the "world of the play"
place settings and multi-course meals and Omnium Gatherum
1800s courtship etiquette
11:00
begin work on Week 3 assignments

Finding "The World of the Play"

Here are some loaded resources that may help you with this week's assignments:

U.S. Census Bureau
http://www.census.gov/
State & County Quick Facts
http://quickfacts.census.gov/qfd/index.html
International Data Base
http://photos.ltmcollection.org/ixbin/hixclient.exe?_IXDB_=ltm&search-form=main/home.html&submit-button=search
Association of Religion Data Archives
http://www.thearda.com/
Internet Public Library
http://www.ipl.org/
Infoplease
http://www.infoplease.com/
Inflation Calculator
http://www.westegg.com/inflation/
How Much Is That?
http://eh.net/hmit/
HyperHistory Online
http://www.hyperhistory.com/online_n2/History_n2/a.html
American Memory from the Library of Congress
http://memory.loc.gov/ammem/index.html
Performing Arts Collection
http://memory.loc.gov/ammem/browse/ListSome.php?category=Performing%20Arts,%20Music
Federal Theatre Project
http://memory.loc.gov/ammem/fedtp/fthome.html
Library of Congress, Prints and Photographs Online Collection
http://lcweb2.loc.gov/pp/pphome.html
New York Public Library Digital Collection
http://digitalgallery.nypl.org/nypldigital/index.cfm
Artchive.
http://www.artchive.com/ftp_site.htm
Costume History at the Costumer’s Manifesto
http://www.costumes.org/history/100pages/costhistpage.htm
History of Private Life (U.S.)
http://www.digitalhistory.uh.edu/historyonline/private_life.cfm
Classical Music
http://www.classical.com/listen/browser.php?sbid=13
Popular Music
http://www.mp3fiesta.com/
Sound Effects
http://www.sounddogs.com/
National Portrait Gallery (London)
http://www.npg.org.uk/live/search/
Old Bailey Online (London)
http://www.oldbaileyonline.org/static/London-life18th.jsp
London Fire Brigade
http://www.lfbphotos.com/assetbank-lfb/action/viewHome
Royal Collection eGallery
http://www.royalcollection.org.uk/eGallery/
London’s Transport Museum: Photographic Collection
http://photos.ltmcollection.org/ixbin/hixclient.exe?_IXDB_=ltm&search-form=main/home.html&submit-button=search
Photograph London
http://www.photograph-london.com/

Week 3 Assignments

THE WORLD OF THE PLAY

As dramaturg, you’ve been asked to help the director and production team understand the “world of the play”—what life was like at the time the play takes place. (If your script doesn’t offer a specific time or location, then assign it one. If the location provided is fictional, then substitute with a real location.) Be specific but also selective, choosing information that will be of value to the team and production.

TIME (5%)

What was going on at the time the play takes place—global and national as well as local events and phenomena—that would affect the characters, the lives they lead and the choices they make?

What did these characters believe and value? (This includes any specifics you can find about economics, religion, war, art, politics, sex, the role of women, etc.)

If you copy and paste text, please be specific and selective and edit your content for relevance…and cite!

SPACE (5%)

What does the world of the play look like? Include natural geography as well architecture, fashion, transportation, entertainment, etc.

Post and link 10 images that best illustrate this world. For each image, provide a caption and link.

SOUND (5%)

What the world sounded like is too vague, so we’ll focus on music. What type of music was popular at this time and location? Give 5 examples with explanations and links. (If you can link to an audio file, great! If you can find lyrics to a song, great!)

For each example, how and where could we get a CD or an .mpeg file? Be specific and include cost.

A note on grading:
Be as specific and relevant as possible. Check your spelling and make sure that all of your links are active.

Class: Friday, July 18

10:00-12:00
continued working on Week 2 assignments

Class: Thursday, July 17

10:00
read Victor Lodato's The Great Father
dramaturg's vs. actor's response to this text
intrinsic vs. extrinsic criticism
author's intention and "intentional fallacy"
11:00
continue working on Week 2 assignments

Non-Traditional Casting

Actors' Equity and Inclusion: Document of Principle

We, Actors’ Equity Association, the Casting Society of America, the Dramatists Guild, the League of American Theatres and Producers, and the Society of Stage Directors and Choreographers, endorse the goals of diversity, inclusion, and the principles of equal opportunity for all who work in the theatre industry; and condemn racism, prejudice, discrimination and exclusion in the theatre.

To these ends, we encourage employment and production opportunities in all theatrical disciplines and areas of theatrical production to include persons of every race, color, culture, age, gender, physical disability and sexual orientation, thereby achieving a theatre industry, both on and off stage, that reflects the full diversity of American society.

While we recognize that there can be no interference with the artistic integrity or contractual rights of the author, director, or choreographer, we urge all members of the theatre community to challenge traditional stereotypes. We acknowledge that the growth and vitality of our industry is dependent upon the inclusion of diverse voices and impulses in writing, hiring, casting, directing and producing. This statement signifies our coming together around the principles of equality, diversity and inclusion. In so doing, we acknowledge our commitment to see that these principles are furthered for the betterment of the professional theatre.
Formally adopted Fall, 1995, by the respective boards and councils of the five participating unions, guilds, and trade associations.
http://www.actorsequity.org/benefits/DocOfPrinciple.asp

Class: Wednesday, July 16

10:00
legal considerations: copyrights, licenses, royalties, recent legal cases
11:00
continue working on Week 2 assignments

Class: Tuesday, July 15

10:00
various translations of Lysistrata
which would we select and produce here at SHSU?
11:00
continue working on Week 2 assignments

Class: Monday, July 14

10:00
tour of library using handout on LOC classification
stacks, microforms, reference materials, music collection
11:00
work on Week 2 assignments
select and have Dave approve individual play title

Graduate Programs?

Here are the schools you presented along with my findings:

Brooklyn College (Brooklyn, New York)
MFA in Dramaturgy
California State-Long Beach (Long Beach, California)
no related, graduate degree
Concordia University (Montreal, Canada)
no related, graduate degree
DePaul University (Chicago, Illinois)
no related, graduate degree
Florida State University (Tallahassee, Florida)
no related, graduate degree
Hunter College (New York City, New York)
MA in Theatre (with study in dramaturgy)
Indiana University (Bloomington, Indiana)
no related, graduate degree
Kent State University (Kent, Ohio)
no related, graduate degree
Mary Baldwin College (Staunton, Virginia)
Master of Letters with Emphasis in Dramaturgy
Ohio State University (Columbus, Ohio)
PhD in Theatre (with a “supporting program” in dramaturgy)
Roosevelt University (Chicago, Illinois)
no related, graduate degree
Texas State University (San Marcos, Texas)
MA in Theatre History and Criticism (may “specialize” in dramaturgy)
Towson State University (Towson, Maryland)
MFA in Theatre (flexible, non-specific)
University of Alabama (Tuscaloosa, Alabama)
no related, graduate degree
University of Birmingham (Birmingham, England)
MPhil in Dramaturgy
University of British Columbia (Vancouver, Canada)
MA and PhD in Theatre (accommodating students with research interests in dramaturgy)
University of Glasgow (Glasgow, Scotland)
MLitt in Dramaturgy and Playwriting
University of Hull (Hull, England)
no related, graduate degree
University of Iowa (Iowa City, Iowa)
MFA in Dramaturgy
University of Kent (Kent, England)
MA in Performance Practice with Specialization in Theatre Dramaturgy
University of Michigan (Ann Arbor, Michigan)
no related, graduate degree
University of Ottawa (Ottawa, Canada)
MA in Theatre (Theatre Theory and Dramaturgy)
University of Pennsylvania (Philadelphia, Pennsylvania)
no related, graduate degree
University of Washington (Seattle, Washington)
PhD in Theatre (dramaturgy is studied)
University of York (Toronto, Canada)
MFA in Dance with Specialization in Dance Dramaturgy
Virginia Commonwealth University (Richmond, Virginia)
MFA in Dramatic Literature and Dramaturgy
Wayne State University (Detroit, Michigan)
PhD in Theatre for Scholar-Directors (dramaturgy is studied)

WEEK 2 ASSIGNMENTS

due by noon on Friday, July 18

The Facts: Basics (5%)
Title
Author(s)
Language/Translator(s)
Year of Original Publication
Genre/Length/Structure
Agency Controlling License
Royalty Fee(s)
Cast Breakdown (M/F)
Time and Setting
Brief Bio of Author(s) (with citation if copied)
Brief Plot Summary (with citation if copied)

The Facts: Exegesis (5%)
Identify and define 20 total “unknowns” in your script including at least one item from each of the following categories:
-- geographic settings, locations, buildings, streets
--cultural references: furniture, clothing, styles of architecture and music
--real people, names, and pronunciation
--archaic or foreign words and phrases
--idiomatic language (slang)

The Facts: Characters and Casting (5%)
Provide a complete character list including essential information provided or inferred by the script: character’s name, sex, age, race/ethnicity, important relationship info.
Example: Hamlet, male, university student (age), Danish, son of now dead King Hamlet

In your own words, write a paragraph or two about non-traditional casting and these characters. (May certain characters be played by actors whose sex or race/ethnicity differs from the author’s apparent original intention? Yes, this is somewhat subjective.)

Frustrated?

Just do your best. Yes, I always give partial credit, and I realize that there may be varied interpretations of the assignment (reader-response criticism and all that).

Class: Friday, July 11 (BONUS)

10:00-12:00
everyone worked on Week 1 assignments on their blogs
10 students present

Class: Thursday, July 10

10:00
read, performed exegesis, and discussed "Mousetrap" scene from Hamlet
watched first 10 minutes of Ethan Hawke Hamlet; discussed its dramaturgical viability
11:00
worked on Week 1 Assignment

NOTE: Friday's BONUS class meets in the Design Room the entire time (10-12 noon); all students are invited to attend; if you have no absences, you may work online the entire time; if you're making up an absence, you'll spend part of the time working with Dave

Class: Wednesday, July 9

10:00
read and discussed opening scene of Hamlet from a dramaturg's perspective
(used Oxford and Arden annotated editions)
11:00
worked on Week 1 assignments to be posted on blogs
everybody present!

WEEK 1 ASSIGNMENTS

The following are due by noon on Friday, July 11, on your blog:

What is Dramaturgy? (5%)
(let’s go with this instead of “definitions”)
Best Online Definition
Best Dictionary Definition
Most Notable or Unusual Definition
Historical Context (German origins with Lessing and the Hamburger Dramaturgy)
Job Description (a composite drawn from multiple sources; edit and cite each)
My Own Definition (in your own words…this is the most important element for grading)

Dramaturgy as a Profession (5%)
Identify 10 professional, not-for-profit theatres (LORT) that employ resident dramaturgs (and/or literary managers). For each of the ten, identify the following: name of theatre, LORT classification, location, name of dramaturg, specific title, and anything else you deem to be notable.

Graduate Degree Programs (5%)
Identify 10 MFA degree programs in dramaturgy at schools that are not listed on the “Sampler” post. For each of the ten, identify the following: name of university, location, name of degree, duration of degree program (most are either 2 or 3-year programs), and anything notable or unique about the program.

Student Blogs

Patricia Almond
http://www.shsudramaturgyalmond.blogspot.com/
Amy Burn
http://www.shsudramaturgyburn.blogspot.com/
Pam Crozier
http://www.shsudramaturgycrozier.blogspot.com/
Peeper Fowler
http://www.shsudramaturgyfowler.blogspot.com/
Carlos Gonzalez
http://www.shsudramaturgygonzalez.blogspot.com/
Aaron Kays
http://www.shsudramaturgykays.blogspot.com/
Veronica LaCombe
http://www.shsudramaturgylacombe.blogspot.com/
Samm Lind
http://www.shsudramaturgylind.blogspot.com/
Ashley Lowe
http://www.shsudramaturgylowe.blogspot.com/
Daniel Nepveux
http://www.shsudramaturgynepveux.blogspot.com/
Charles Page
http://www.shsudramaturgypage.blogspot.com/
Schandria Reece
http://www.shsudramaturgyreece.blogspot.com/
A.J. Salazar
http://www.shsudramaturgysalazar.blogspot.com/
Zakk Shanks
http://www.shsudramaturgyshanks.blogspot.com/
Katie Stefaniak
http://www.shsudramaturgystefaniak.blogspot.com/

Class: Tuesday, July 8

10:00
what is dramaturgy?
covered syllabus
11:00
created online blogs
explored McTier's new blog for the class: shsudramaturgymctier.blogspot.com
focused on Shakespeare topics and links
discussed issues relating to Shakespeare and text, authorship, printing, quartos vs. folio
explored LMDA website

Graduate Programs

"A Sampler of Graduate Dramaturgy Programs in the U.S."
Posted by Theatre Communications Group (TCG): Publications: American Theatre
note: some information is outdated
http://www.tcg.org/publications/at/2001/programs.cfm

What Is A Dramaturg?

The following articles are offered by the Literary Managers and Dramaturgs of the Americas (LMDA) at their homepage in the section "Who We Are: About Dramaturgy":

"What is Dramaturgy? Some answers..." by M. Louise McKay
http://www.lmda.org/blog/WhoWeAre/AboutDramaturgy/_archives/2004/11/18/186623.html

"When You Use These Words, You're Using Dramaturgy" by Liz Engelman
http://www.lmda.org/blog/WhoWeAre/AboutDramaturgy/_archives/2004/12/28/217890.html

"The Role of the Dramaturg in the Creation of New Works" by Andrew Eggert
Originally published in Opera America (Spring 2008)
http://www.lmda.org/_attachments/3629932/The%20Role%20of%20Dramaturgy.pdf

Versions of Hamlet

Hamlet Quarto 1 (1603)
http://internetshakespeare.uvic.ca/Library/facsimile/book/BL_Q1_Ham/

Hamlet Quarto 2 (1604)
http://internetshakespeare.uvic.ca/Library/facsimile/book/BL_Q2_Ham/

Hamlet Quarto Comparisons
http://molcat1.bl.uk/treasures/shakespeare/search.asp

Hamlet Folio 1623
http://dewey.library.upenn.edu/sceti/printedbooksNew/index.cfm?TextID=firstfolio&PagePosition=759

All Quartos & Folios
http://internetshakespeare.uvic.ca/Library/facsimile/

Promptbooks
http://etext.lib.virginia.edu/bsuva/promptbook/ShaHamP.html

Hamlet Home Page
http://internetshakespeare.uvic.ca/Library/plays/Ham.html

Notes on Shakespeare
http://inamidst.com/shaks/notes

Hamlet Works
http://www.leoyan.com/global-language.com/ENFOLDED/

Hamlet Online
http://www.tk421.net/hamlet/hamlet.html

E-Notes Text of Hamlet with “modern” translation
http://www.enotes.com/hamlet-text

Complete Online Shakespeare (MIT)
http://shakespeare.mit.edu/

Course Description

This THR 492 is a writing-enhanced, hands-on workshop on production dramaturgy—an exploration and application of the processes and resources to assist a creative team make better informed production choices.

Typically, the first hour of class will be a lecture-discussion focusing on Hamlet and Scenes from an Execution from a dramaturg’s perspective; the second hour will be supervised library and computer time developing individual dramaturgy blogs for a script of each student’s choosing.

As approved by the administration, credit for this course may substitute for any one of the three required writing-enhanced courses I teach during the regular year: Theatre History I (THR 360W), Theatre History II (THR 460W), and Theory and Criticism (THR 463W).

Course Requirements

Attending at least 85% of all classes (34 of 40 class hours).

Reading Shakespeare’s Hamlet and Howard Barker’s Scenes from an Execution.

Developing and publishing an online blog (from Blogger.com) comprised of the assignments listed below for the script you’ve selected. (The script needs to have or be assigned a specific time and geographic location in the past or present—nothing futuristic or too abstract.)

Please bring a jump drive along with paper/notebook and pen/pencil to each class.

Graded Components

All graded assignments will be posted on your blog (www.shsudramaturgyyourlastname.blogspot.com). This blogging program is simple to use and FREE.

15% General Dramaturgy (due noon Friday, July 11)
5% definitions
5% LORT theatres and dramaturgs
5% U.S. graduate degree programs

15% The Facts of the Play (due noon Friday, July 18)
5% basics (facts about script and author)
5% exegesis (selective)
5% characters and non-traditional casting

15% The World of the Play (due noon Friday, July 25)
10% context: time and space
5% acoustic environment

20% Productions (due noon Friday, August 1)
10% production history and reviews
5% production photos
5% production designs

25% Other (final blog due noon, Thursday, August 7)
10% educator’s packet
10% dramaturg’s statement
5% additional resources and links

10% Format (final blog due noon, Thursday, August 7)
5% citations (present, accurate, and linked)
5% appearance, accessibility, and ease of use

Late Work

Assignments submitted late will be penalized one letter grade (-10 points) for each week overdue.

Attendance

You must attend a minimum of 34 class hours (17 of 20 two-hour classes). Three “bonus” days are offered to makeup missed hours/classes. For anything less than 34 hours, you will be penalized -3 points (from your final course grade) for each hour missed. No distinction is made between “excused” and “unexcused” absences.

For each class day that you arrive on time and remain until the end of the period, you will receive +⅓ (one third) point to add to your final course grade.

Technology & Conduct

Laptops are not permitted during the first hour (lecture-discussion) of each class day; however, you may use your laptop anytime that we, as a class, are using computers.

We will take a 10-minute break each day at appr. 10:50. Please restrict your text messaging, phone calls, bath-rooming, eating, e-mailing, and socializing to that time.