FORM A -- SUMMARY OF CURRICULUM CHANGES AND BUDGET SUMMARY
DATE: _02.03.2016___
COLLEGE: _CHAS______
DEPT/SCHOOL: __THEATRE_
I.
DROPPED COURSES [see FORM B-1]
• Automatic Course Drop: initiated by the Office of the Registrar (list titles and course numbers)
• Course Drop: initiated by Department/School [see FORM B-1] (list titles and course numbers)
THEATRE 3140 Design: Sets
THEATRE 3145 Design: Lights
THEATRE 3150 Design: Costumes
II.
DROPPED AND/OR SUSPENDED MAJOR/MINOR/EMPHASIS/CERTIFICATE [see FORMB-2] (list
titles)
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III.
COURSE CHANGES [see FORM C] (list titles and course numbers; star all changes that are editorial)
IV.
NEW COURSES [see FORM D] (list proposed titles, course numbers, and credit hours)
Design I: Theatrical Design Aesthetics
Design II: Theatrical Design Process
Design III: Theatrical Design Application
Drama & Inclusion
3 credits
3 credits
3 credits
3 credits
THEATRE
THEATRE
THEATRE
THEATRE
3220
3230
3240
2010
(proposed #)
(proposed #)
(proposed #)
(proposed #)
V.
RESTATEMENTS OF MAJORS/MINORS/EMPHASES/CERTIFICATES [see FORM E] (list titles; star
all changes that are editorial)
B.A. Theatre
VI.
NEW MAJORS/MINORS/EMPHASES/CERTIFICATES [see FORM F]
(list proposed titles) [also see FORM G for new majors only]
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VII.
OTHER CATALOG CHANGES and/or ADDITIONS [See FORM H] (list items)
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VIII.
BRIEF NARRATIVE EXPLAINING WHAT YOU ARE HOPING TO ACCOMPLISH WITH YOUR
CURRICULAR CHANGES, identifying the relationship of the proposed changes to other planning
processes (i.e., Academic Program Review, Student Outcomes Assessment, strategic planning, and
licensure or accreditation/re-accreditation requirements). Explain how you know these changes are needed,
based on those planning processes. (e.g., Based on what we learned through assessing our _____ learning
goal for the major, showing that we needed more emphasis on _______, we are restating the major to add
some possible electives and change the required core from 9 to 12 credits with the addition of a newly
created core course.)
1. In changing our design sequence from three compartmentalized courses each focusing on a
singular design aspect, to three advancing courses that focus on the overall design process, we
will better serve each students’ learning. They will be introduced to design aesthetic, then
process, then application with time to examine each area of theatrical design. This will cut
down on redundant information shared between the three previous courses, while also
allowing the students to make connections between the various design disciplines.
2. Each of these courses can be directly linked to Learning Goals 1-3 attached to this emphasis:
a. Goal 1: Students will recognize the creative imagination and impulse and identify its
relationship to artistic collaboration, standards, judgments, ethics and discipline from
the design and production point of view. (This will be emphasized in Design I).
b. Goal 2: Students will recognize and apply practical and theoretical knowledge of the
process by which creative impulses are channeled into design and production projects
for the theatre. (This will be emphasized in Design II).
c. Goal 3: Students will know and communicate how to analyze and interpret plays and
other theatrical events from design and production perspectives. (This will be
emphasized in Design III).
3. Drama and theatre are emerging interventions in supporting the education of youth with
developmental disabilities, including autism. By adding Drama and Inclusion to the core
courses for our Theatre for Youth Emphasis, we will be completing their comprehensive
education in best practices for teaching all youth, including those with multiple levels of
cognitive ability. They will be better prepared to contribute to the growing practice of
including drama and theatre in a variety of learning environments for and with special needs
learners.
4. This course has had success as an experimental offering in the past. The inclusion of
drama/theatre work for learners with developmental delays has become a hallmark of this
area of study and one which sets UNI apart from similar degree programs in the region.
5. This course can be directly linked to Learning Goals attached to this emphasis:
a. Goal 1: Students will recognize the creative imagination and impulse and identify its
relationship to artistic collaboration, standards, judgments, ethics, and discipline from
the youth theatre/drama education point of view.
b. Goal 2: Students will recognize and apply practical and theoretical knowledge of the
processes by which creative impulses are channeled into youth theatre/drama
education projects for the theatre.
IX.
BUDGET SUMMARY FOR DEPARTMENT
(should summarize needs for entire curriculum proposal package)
A. Will the curriculum changes proposed in this package increase the budgetary needs of the department?
x No
Yes
If NO, explain the changes in the department or the departmental rotation of courses
which offset the costs.
Design I-III: Most of the professors available to teach these courses have already
received load to teach the three previous design courses that will be dropped to
accommodate Design I, II, & III.
Drama & Inclusion: No budgetary changes
If YES, identify the total costs.
1. Staff
2. Additional facilities
3. Equipment
4. Support personnel
5. Library requirements
6. Computer service
7. Educational technology
8. Other services (identify)
______________________
TOTAL COSTS
$ _________
$ _________
$ _________
$ _________
$ _________
$ _________
$ _________
$ _________
$ _________
B. If the costs above are not simply the sum of all the various budgets in this package (FORMS C, D, E,
F), explain why.
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X.
UNRESOLVED OBJECTIONS TO COLLEGE-APPROVED PROPOSALS
(list all proposals with unresolved objections)
none
XI.
COLLEGE-APPROVED PROPOSALS WHICH VIOLATE CURRICULAR GUIDELINES
(list all proposals violating curricular guidelines)
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Department Head Signature
Date ____________________
College Dean's Signature
Date ____________________
Approved
__ Yes
__ No
College Dean Comments
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College Senate Comments
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