UNIVERSITY or KENTUCKY

l53—THE DRAMA OF THE RESTORATION AND EIGHTe

EENTH CENTURY. A study of the dramatic types that arose be-
tween the closing of the theaters in 1642 and the death of Sheridan. ;
(3) I (Cooke) ‘

15Sa——CONTEMPORARY AMERICAN POETRY. An examina-

tion of the forces which have developed to create modern poetry in

England and America since 1900. The course is an historical study
of the movements and currents in their origins and ideas, and a study
of literary and esthetic appreciation of form, matter, and style. Col-
lateral reading. (3) I (Farquhar)

lfifib—CONTEMPORARY BRITISH POETRY. A continuation
of 155a, which is not prerequisite, although desirable.
(3) II (Farquhar)

157—TEACHING OF SPEECH AND ORAL ENGLISH. Discus- l
sions dealing with practical problems in teaching. Intended for teach—
ers and prospective teachers. (3) II (Blyton and Sterrett)

l58—ADVANCED ARGUMENTATION AND DEBATE. The
function of argumentation and debate in a democracy, plus a much 3
more detailed and crtitical examination of the logic of argument 1
than is covered in English 11a. (3) II (Blyton) !

159—PERSUASION. The principles and methods of persuasion.
Special attention to speech as an instrument for gaining acceptance.
This course will be of particular benefit to teachers, lawyers, busi-
ness majors, and other persons whose work is concerned with moti-
vating human conduct. ( 3) I (Blyton)

ISO—THEORY AND TECHNIQUE OF ACTING. Theory of
acting applied to individual problems and groups. Development of
skill, effectiveness, and grace in the use of the body. Attention to
establishing mood, reactions between characters, suspense, three
voice modulations, pause and other modes of emphasis, projecting
voice and characterization. This course is designed to be helpful to
public speakers, actors, and teachers: (3) I (Briggs)

16l—THEORY AND TECHNIQUE OF DIRECTING. Theory of
plotting and interpreting a play for directors. Study of movement, '
interpretation of lines, creation of atmosphere, use of stage areas,
use of levels, methods of achieving a climax, handling of groups,
planning of mob scenes. Each student will have opportunities to di-
rect plays under supervision. This course is designed especially for
teachers who will have to direct plays as a part of their regular
work. ‘ (3) II (Briggs) ‘

162—THEORY AND TECHNIC OF THEATRE PRODUCTION.
Intensive study of the practical problems of play production. Appli-