Graduate Programs

Master of Fine Arts in Theatre Program (M.F.A.)

The Towson University Master of Fine Arts in Theatre is dedicated to creating a fluid, alternative environment to support the development of the total theatre maker. The program is designed to foster self-directed processes that will challenge, expand and develop each participant's artistic vision. This vision is explored in terms of its context as well as its skillful application of craft.

Intercultural, interdisciplinary, collaborative and socially relevant, Towson's M.F.A. in theatre is for artists who cannot be content working in a single discipline or in the traditional conservatory model. They want to construct the soundscape that interacts with the spoken text they've written. They want to create the installation in which they will perform. They want to build puppets and learn to bring them to life. They want to create work in non-theatrical environments with nontheatrical co-creators.

We seek artists who would feel restricted by a conservatory style program. Students accepted into this program have already begun to articulate a creative vision, but have decided to return to graduate school to both expand and refine their vision. Whether directing, designing, performing, producing, constructing or writing, the student/artist must be willing to work both independently and collaboratively. The program is based on the cross-fertilization of ideas among participants and the thoughtful implementation of human, material, economic and environmental resources. The program requires that its participants create their own opportunities, work in a variety of disciplines, and serve as self-producing artists.

Seminars and workshops with distinguished visiting artists play a major role in the foundation of the curriculum. Guest artists expose the student/artist to a wide range of theatrical styles and methods, emphasizing their cultural contexts and underlying principles. Guests may facilitate a master class for one or more days, lecture or demonstrate as part of a required class, or work in extended residency with the students of the program.

Some of our guest artists and companies include Richard Armstrong (New York), Philip Arnoult (Maryland), George Bartenieff (New York), Augusto Boal (Brazil), Anne Bogart (New York), Kia Corthron (New York), Donna DiNovelli (New York), Rinde Ekert (California), Chris Eaves (New York), Heinz Uwe Haus (Germany), Independent Eye (California), Jean-Claude van Itallie (Massachusetts), Katalin Laban (Hungary), Gabriella Lev (Israel), Daniel Macivor (Canada), Akira Matsui (Japan), Mumm Puppettheatre (Pennsylvania), Michael Rohd (Oregon), Pig Iron (Pennsylvania), Sandglass Theatre (Vermont), San Francisco Mime Troupe (California), Shozo Sato (California), Teatro Abya Yala (Costa Rica), Theodora Skipitares (New York), Squonk Opera (Pennsylvania), Daniel Stein (California), Touchstone Theatre (Pennsylvania), Frits Vogels
(Netherlands), Mac Wellman (New York), and Putu Wijaya (Indonesia).

While not a conservatory model, there is a tightly structured curriculum. Of the 60 units required for graduation, 43 units consist of the program's core courses. We advise students to emphasize the core curriculum during the first two years, so as to leave the third year open to place primary focus on their final projects. During the first year of the program, student/artists are encouraged to explore their own artistic visions and the aesthetic of those around them - fellow students, guest artists, people focusing on other disciplines-both within the university and beyond. It is also the year of foundational contextualization for the theatre maker. In the second year, student/artists continue to seek out opportunities to collaborate on projects with others while developing their own projects in a supported and ongoing portfolio development process. Finally, in the third year, the student/artist seeks out collaborators to generate projects under their own development.

All graduate students approach projects from an interdisciplinary perspective, and each student works in a variety of disciplines. New work may be created in a variety of forms, such as interdisciplinary constructions or installations, ensemble creation, performance art, movement theatre, or productions of new scripts. Transformations of existing literature may involve reconstructing classic text or design elements, historical reinterpretation, or the integration of intercultural aesthetics. In directing and design, special attention is given to the collaborative creation of style. In text construction, special attention is given to innovative language and structure. In dramaturgy, special attention is given to aesthetic and cultural context. In technical production, special attention is given to safely integrating new technology, practices and materials. In performance, special attention is given to the integration of voice and movement as an expression of style. The student/artist is urged to combine disciplines within a given project, perhaps working as director/designer, technician/designer, or writer/performer.

For more information about the theatre master’s degree program, contact the program director, Stephen Nunns, 410-704-4519, snunns@towson.edu .