Degree Requirements
All students of the Theatre Program, except for those noted below, must meet the following requirements to earn the Masters of Fine Arts in their chosen concentration:
-
Earned at least 60 points of course credit. At least 54 of those points must be acquired through graduate-level coursework (4000-level courses or above).
-
Completed at least two (2) approved internships at an institution or organization relevant to a student’s course of study. NOTE: Students in the Theatre Management & Producing concentration must complete three (3) internships, and Acting students are exempt from this requirement.
-
Submitted/Performed in an approved thesis in accordance with concentration guidelines.
-
Additionally, students in the Dramaturgy program must meet one of the following requirements:
-
received a grade of “C” or higher, or “Pass”, in at least one year of intermediate level language as a college undergraduate,
-
passed one semester of Rapid Reading and Translation at Columbia,
-
received a “B” or better in a program equivalent to the Rapid Reading and Translation at another accredited college (e.g., CUNY’s Language for Reading Knowledge),
-
or passed a language proficiency exam at Columbia.
-
The following is a list of sample curriculum, listed by concentration and year. Please note course requirements are subject to change at the discretion of the faculty.
Sample Curricula
The following is a list of sample curricula, listed by concentration and year. Please note course requirements are subject to change at the discretion of the faculty.
Acting Concentration |
|
First Year |
|
|
History Of Performance Scene Study Acting I Acting II Acting Studio I Acting Studio II Acting Techniques: Alexander Technique
|
Voice & Text I Voice & Text II Collaboration Suzuki Technique Dance for Actors Text Analysis Actor-Director Workshop
|
Second Year |
|
|
Acting III Acting IV Acting Studio III Acting Studio IV Speech Acting Techniques: Stage Combat
|
Clown Voice, Speech & Shakespeare Voice & Shakespeare II Theatre Practicum I: Visiting Artists Theatre Practicum III: Acting for Camera |
Third Year |
|
|
Professional Practice Research Arts Theatre Thesis Research Arts Theatre |
|
Acting Thesis
All Acting students participate in a full-scale production, directed by a faculty member or guest director. Recent directors have included Diane Paulus, Andrei Serban, Karin Coonrod, and Yuriy Kordonskiy. There is no written component to this project. |
|
Directing Concentration |
|
First Year |
|
|
Directing I Directing II Actor-Director Workshop Theatre Practicum I: Visiting Artists |
History & Theatre of Theatre Collaboration Models of Dramatic Structure Contemporary American Plays |
Second Year |
|
|
Scene Study for Directors II Advanced Play Directing Seminar Collaboration II Directing IV |
Shakespeare in Performance Director-Designer Workshop Dramaturgy II (Shakespeare) |
Third Year |
|
|
Research Arts Theatre Thesis Research Arts Theatre |
|
Directing Thesis
Each Directing student, with the approval of his or her advisor, chooses a play to direct as their thesis. The play is cast by current Columbia MFA Acting students and professional actors. The Theatre Program provides a modest production budget. In addition to the production, students complete a written analysis and reflection on the production, not exceeding 25,000 words. |
|
Dramaturgy Concentration |
|
First Year |
|
|
Introduction to Dramaturgy History & Theory of Theatre Fundamentals of Directing Creating a Play (full year) Contemporary American Plays |
Theatre Practicum I: Visiting Artists Collaboration Critical Writing for Theatre I Dramaturgy Practicum Models of Dramatic Structure |
Second Year |
|
|
Development Process Playwright-Dramaturg Workshop Topics in Theatre History & Theory: Avant-Garde Collaboration II |
Dramaturgy II: Shakespeare Planning a Theatrical Season Advanced Drama Criticism Seminar Fundamentals of Acting |
Third Year |
|
|
Research Arts Theatre Dramaturgy Thesis
Every Dramaturgy student must complete a written thesis of no less than 12,500 words, based on production work, empirical research, translation, or similar project approved by his or her advisor. |
|
Playwriting Concentration |
|
First Year |
|
|
American Spectacle I History & Theory of Theatre Television Writing: The Series Television Writing |
Fundamentals of Directing American Spectacle II Collaboration Models of Dramatic Structure |
Second Year |
|
|
Directed Studies: Playwriting Play Rewriting and Development Lyric Writing Playwright-Dramaturg Workshop |
Collaboration II Playwriting Fundamentals of Screenwriting American Musical Theatre |
Third Year |
|
|
Professional Practice Research Arts Theatre Thesis Research Arts Theatre Playwriting Thesis
During the third year, Playwriting students either create a new work or further develop an existing piece to present as their thesis in a full production. This process is guided by a Playwright Mentor. Recent mentors have included Caryl Churchill, Will Eno, Madeleine George, Melissa James Gibson, Stephen Adly Guirgis, Amy Herzog, Rajiv Joseph, Stan Lai, Tracy Letts, Gregory Moss, Sarah Ruhl, Caridad Svich, Alice Tuan, Anne Washburn, and Chay Yew. |
|
Theatre Management & Producing Concentration |
|
First Year |
|
|
Budgeting & Reporting Press, Publicity & Audience Development Theatre Management & Administration I History & Theory of Theatre Marketing/Audience Development/Fundraising Tools |
Theatre Management & Admnistration II Issues in National Not-for-Profit Theatre Law and Theatre Legal Writing Practicum Advertising for Theatre |
Second Year |
|
|
Company Management Role of the Theatre Producer Accounting for Theatre Advanced Seminar in Theatre Management Development Process |
Theatre Practicum IV: Ticketing Trends in Contemporary Theatre Production Creative Producing Theatre Management Seminar Critical issues in Theatre Producing |
Third Year |
|
|
Research Arts Theatre
Theatre Management & Producing Thesis
Every Theatre Management & Producing students must write a paper between 12,500-25,000 words for their thesis, under the supervision of a faculty advisor and second reader from the professional realm. The thesis can address any area of the theatre industry (e.g., commercial, not-for-profit, national, international, etc.), but must be supported by primary, secondary, and empirical research. |
|