I. Summary, Impact of Assessment on the Program, 2003-2005

Table of Contents

Page 3 Assessment Profile

4- Assessment Report

Addenda Assessment Instrument Examples

Assessment Activities 2002-2005 (2005 is incomplete)

Assessment Reports 2002-2004 (2004-05 is not completed)

I. Summary, Impact of Assessment on the Program, 2003-2005

A. Assessment Activities: Advising and Mentoring, Curriculum Development and Enhancement

1. Advising and Mentoring

Historically, the faculty of the Theatre and Dance Area have performed advising for and with its students. The faculty of the Area meet with every Theatre and Dance major after approximate mid-point of each semester prior to Advanced Registration. Advising provides an opportunity for a formal assessment of individual students progress. This assessment includes both curricular and co-curricular activities of the current semester, as well as planning for future semesters. Long-term planning, goal assessment, and goal setting are also undertaken. Review preparations are also discussed and planned. Advising provides each student with the opportunity to discuss their perceptions about the course of study, their progress in the course of study, other course work, and issues in need of greater attention. This advising has a direct impact on curriculum planning, development and enhancement.

In mentoring and advisement the distinction between formal and informal can be subtle. And based on the issues that arise from the interaction, what begins as an informal mentoring session may become formal. Mentoring may occur outside the confines of an appropriate place for free and confidential exchange undertaken for the purposes of facilitating teaching and learning. This type of interaction would deal with the course work of Theatre and Dance, other course work, or co-curricular activities. In Theatre and Dance it is a given of the discipline that faculty and students typically have more extensive interaction than would be found in many other disciplines. The students and faculty work together in the curricular work of the classroom/studio and also in the co-curricular work of the rehearsal rooms, scene shops, costume shops, prop rooms, dressing rooms, etc. In these contexts, opportunities to discuss matters small or large often arise. It is the challenge of the faculty to identify whether the time and place are appropriate for the issue at hand without stifling the impulse or need to discuss those issues. Informal mentoring can be extensive and often profoundly impacts the teaching and learning of Theatre and Dance. The students and the faculty have myriad opportunities to work with and observe one another beyond the structure of the classroom and class time. It can be challenging. But these situations provide excellent opportunities for training in the intricacies of a profession where conduct and demeanor impact the work and the individuals with which that work is undertaken. It is a profession where there can often be vague boundaries between the work and what is outside that work. As effective learning and teaching should take place within and without a classroom, creative work must also take place within and without a studio, rehearsal room, or shop.

2. Curriculum Development and Enhancement

The development and enhancement of curriculum is strongly influenced by the assessment process. Student outcomes in those processes tell us where the interest and effectiveness of the curriculum and the teaching of that curriculum lies. Through advising and student accomplishment in classes, it was clear that dance was proving very effective for many of our students. Our students were clearly gaining greater flexibility, confidence, and freedom from those experiences.

There has been extensive curriculum creation in the Theatre and Dance Area since the last Third Year Review. However, with the integration of Theatre and Dance in 2003 there was a need to create Dance curriculum that would clarify this relationship and reflect the actual substance of the curriculum. The courses for dance as previously offered were often not representative of the actual subjects, or styles of dance, being offered or the learning objectives for those courses. There was at least a potential for confusion and clarity. As an example, the new Middle Eastern Dance 1 had been previously offered as Ballet Elective. The new Dance curriculum also moves the program toward the goal of creating a Dance Minor.

In 2004-2005 four new Theatre courses were created and approved, and one course was revised and approved. In Dance six (6) new courses were developed and approved.

New course development for Theatre:
THTR T327, Period Styles
THTR T330, Rendering
THTR T332, Scene Painting
THTR T485, Capstone Project

With the exception of the T485, Capstone Project, these courses were developed for the completion of the Bachelor of Fine Arts in Theatre degree program, specifically the Design/Technology concentration. As all B.F.A. classes, these courses also embellish the opportunities for students engaged in the Bachelor of Arts in Theatre degree program. T485, Capstone Project formalizes a requirement for both the B.F.A. and B.A. degree programs. It has been a requirement for all students to prepare and present an exit project. The Capstone Project was created to formalize the process of project preparation and presentation.

Curriculum revision for Theatre:
THTR T349, Theatre Practicum

T349 has been an integral part of the Bachelor of Arts in Theatre degree since its inception and going back to when it was a Bachelor of Arts in Communication Arts/Theatre degree. Thus it was designated T349 Speech and Theatre Practicum. It was necessary to bring the course designation up-to-date to reflect the existing degree program.

New course development for Dance:

THTR D120, Ballet 1
THTR D120, Flamenco 1
THTR D140, Jazz Dance 1
THTR D150, Middle Eastern Dance 1
THTR D220, Ballet 2
THTR D250, Middle Eastern Dance 2.

Again, these new courses now articulate the actual offerings in Dance. With the addition of Flamenco 1 to the offerings of Middle Eastern Dance we have both classical and traditional dance courses in the curriculum. These classes potentially constitute the foundation of a unique dance curriculum.

The Middle Eastern Dance courses have proven to be very popular and that popularity along with the effectiveness of the learning and teaching in those courses has already been evidenced in co-curricular dance concerts. There is still much to accomplish in the creation of dance curriculum.

B. Co-curricular Activities; Production Season, Student Assignments and Casting

1. Production Season; plays and dance concerts produced

Assessment activities inform the selection of plays and dance concerts produced. However, at this time dance students are not formally reviewed. The inclusion of dance in this process is to be determined. The creation of a Dance Minor will demand such that inclusion. A Dance Minor is a goal for the near future.

Student abilities presented in the various levels of review provide evidence of their development and abilities. In relation to co-curricular activities, the reviews provide the faculty with evidence of the overall understanding and skill level of the student body. This insight provides useful structure to the selection of an appropriate co-curricular production season that can meet our mission and the needs and abilities of our students.

2. Student Co-Curricular Production Assignments; Casting, Design/Technology and Directing, and Production Assignment Opportunities

Casting is a critical Review Process. Auditions typically occur on the second and third day of the first week of classes in each semester. Amongst other criteria, the selection of the co-curricular production season is based on the potential ability to cast and staff the productions. Only in cases of Capstone Projects are roles pre-cast in the co-curricular production season. The use of guest or faculty artists in roles is the other exception. In either case, while pre-casting is a welcome, and vital opportunity for the students and program it is relatively rare. Even in the event of pre-casting, all other casting is open. Anyone can audition for casting consideration. However, all must present a prepared audition. For new participants, including first semester freshman, that prepared audition includes a story and a song. For returning participants or students, two prepared, contrasting monologues must be presented with a song. For advanced students an ineffective prepared audition may exclude them from consideration. Those occasions requires at least careful consideration of the Area faculty. The prepared auditions are followed by readings of the specific plays with the director of that production. Callback auditions typically occur within the two day audition period. However, more extensive callbacks can be useful or necessary and have been utilized for some productions. Each participant/student has the opportunity to earn a role in each production cast. However, the general skill level of the students engaged in the course work of the program and exemplified in the Review Process plays a vital role in the determination of our co-curricular production seasons. And yet, the casting of the production seasons rests on the students preparing and presenting effective auditions. While anyone may audition for casting consideration, the collective skills of our students in the major provide at least the foundation for any production undertaken. So, no matter how careful the planning and consideration of student abilities, casting remains a risky process. That reality clarifies castings vital relationship to the Area's review processes.

Design/technology and directing opportunities for our students is a point of distinction and a matter of great pride for the Area. We have an extensive history of providing extensive design/technology and directing opportunities to our students. Our students also have an extensive history of making the most of those opportunities. Successful mentoring plays a significant role in those positive outcomes. While directing opportunities are rare in relation to design/technology opportunities, both are characteristic of our program. The assessment processes undertaken by the Area are critical to the designation of design and directing opportunities. Unlike casting, where those opportunities are available to the range of students in our program and anyone else that meets the minimum requirements, design and directing opportunities are available to only advanced students in our program; typically after Mid-Course Review and up to graduation. This is necessary because of the skills and abilities required for such opportunities. To arrive at the point of gaining access to these opportunities, a student must have declared a concentration and have extensive evidence of their processes and the products of those processes. For design/technology students that evidence is held and presented in portfolio. Portfolios house evidence of their development as artists in relation to their concentration and would include evidence of an area of specialization within a concentration; their work from class assignments; their work on co-curricular assignments; and, if available, previous design work. Interviewing is an integral part of all levels of review, so the successful design/technology candidate must also have strong oral presentation skills. The skills to effectively present and discuss their portfolio, a self assessment of their progress and the aims and outcomes of specific elements presented in the portfolio.

Directing opportunities are open to all students in the major. The assignment of student directors typically follows a written application and interview process. However, the serious candidate would be a strong student with extensive experience and success in the program. For design/technology students the above review process would provide further evidence to assess their skills as they related to directing. For performance students, the auditions and interviews of their reviews would provide further evidence to assess their skills as they related to directing.

The selection of our co-curricular production seasons is informed by student outcomes in the review processes. When students have exhibited preparation for design/technology or directing opportunities the selection of the co-curricular season is shaped by the need to provide useful opportunities for those students. Furthermore, the placement of a specific production within the season of plays will be informed by how to most effectively facilitate the student designer/technicians or directors process.

Production Assignment Opportunities:

Each co-curricular production provides opportunities for student participation. Some of these opportunities demand experience and training, but most demand minimal on-the-job training without prior experience. All demand dependability and punctuality. Production assignment opportunities include stage management and assistant stage management, run-crew, fly operators, properties, dressers, and sound and light board operators. However, certain productions may demand more specialized and extensive assignments.

Stage management demands successful experience serving as an assistant stage manager. The co-curricular production program demands that we have trained stage managers for each production. This is because stage managers must be leaders for they bear extensive responsibility within the production. A stage manager is the person responsible for managing auditions and rehearsals, calling shows, providing an environment that facilitates the creative process, and serves as the communication center of the production for the director, designers, technical staff, and actors. In our program stage managers also have access to secured areas. They also take some production management responsibilities such as making sure the cast and crew arrive on time and effectively execute their preparations for performance.

All Theatre and Dance majors must meet minimum participation requirements in the co-curricular production activities of each semester. The course of study also requires three (3) credits in THTR T349, Theatre Practicum. Theatre Practicum credits are earned in co-curricular production activities. For performance concentration students, a minimum of one (1) Theatre Practicum credit must be fulfilled in a co-curricular production assignment in the realm of design/technology. This is to ensure performance students the opportunity to gain a deeper appreciation and understanding for the entirety of theatre production.

Laboratory assignments also provide opportunities for students to participate in the co-curricular production program. The laboratories also provide individuals for potential production assignments. However, laboratory requirements can also be fulfilled by working twenty (20) hours in either the Scene or Costume Shops.

For the following courses a laboratory of twenty (20) credit hours is required:
THTR T120, Acting 1
THTR T220, Acting 2
THTR T225, Stagecraft 1
THTR T230, Stage Costuming 1

Production assignment opportunities typically exceed the twenty (20) hours required. But these assignments provide experience working on and observing the production in action. That is attractive to many students. For the student (non-Theatre and Dance major) that is unable or unwilling to participate in production the shops provide an outlet to participate in production.

Despite the requirements for majors and students enrolled in specific courses with a laboratory component, there may still be the need for additional individuals to assume production assignments. And the objective is to arrive at the most effective team in relation to the demands of each production. Therefore, the selection of a co-curricular production season must consider the available students, their skill levels, and anticipate potential shortfalls.

And finally, assessment activities define the requirements of the entire season in relation to the demands made on our students. Providing useful and varied opportunities is critical for the students and the program. And the effective academic progress of the students must be given careful consideration. However, students must also learn to effectively balance curricular and co-curricular work. Therefore, the faculty and the students each have significant balancing acts to accomplish in relation to the outcomes of assessment.

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Third Year Review

Table of Contents

Assessment Profile

Assessment Report

Addenda Assessment Instrument Examples

Assessment Activities 2002-2005 (2005 is incomplete)

Assessment Reports 2002-2004 (2004-05 is not completed)

Assessment Profile 2002-2005

CHARACTERISTICS OF THEATRE MAJORS

EXPECTED LEARNING OUTCOMES

THEATRE CORE CURRICULUM

ASSESSMENT APPROACH AND METHODS

Knowledgeable
They understand the nature of theatrical literature as well as mastering information concerning the skills learned in their area of concentration;

Analytical
They have analytical/critical skills which enable them to discover the meaning of playscripts and historical theatrical texts;

Insightful/Creative
They use their skills to form and perform intelligent interpretations that serve to enlighten others. These skills lead them to think and create independently;

Skilled in Communication
They know how to conduct meaningful research and know how to express their findings to others in new and different ways that engage an audience;

Goals 1
Students will be able to comprehend and articulate both oral and written forms the history, theories, and factual information concerning their area of concentration. They should be well-informed and have a global view of their field while analyzing, comparing, and contrasting the similarities of many cultures and historical periods.

Goal 2
Students will be able to comprehend and practice the learned knowledge and skills needed to succeed in their areas of concentration.

Goal 3
Students will be able to demonstrate through some form of performance that they have mastered the learned skills.

Goal 4
Students will emerge as curious, objective, critical thinkers with the necessary skills to succeed in an audition and/or professional interview situation.

Develops Basic Skills
THTR T120 Acting I
THTR T150 Fund Play Structure and Analysis
THTR T225 Stagecraft I
THTR T230 Stage
Costuming I

Develops Perspective
THTR T228 Design for the Theatre
THTR T335 Stage Lighting
THTR T340 Directing I
THTR T349 Theatre Practicum
THTR T470 History of the Theatre I
THTR T471 History of the Theatre II
THTR T483 Topics in Theatre and Drama

Develops Skills
Specific requirements and electives for each area of concentration: Acting, Technical, Design, Theatre Studies

All students are required to submit a resume and narrative of their progress.

Acting
Year 1BTwo (2) contrasting monologues.
Year 2BFour (4) contrasting monologues.
Year 3BFour (4) contrasting monologues.
Year 4BFour (4) contrasting monologues.

Technical and Design
Portfolio assessed each year.

End of Freshman Year Review
Mid-Course Review
BFA Annual Review
Senior Recital
Exit Project
Exit Review

Introduction:

The most pertinent new development to discuss is the evolution of the Theatre Area to the Theatre and Dance Area. That change took place in fall 2003.

As presently composed the Dance program offers curriculum enhancement to IU South Bend, the School of the Arts and the Theatre and Dance Area. Currently, the dance program does not offer either a major or a minor. As presently composed, the dance program offers course-work in the disciplines of ballet, jazz, and tap and in Middle Eastern and Flamenco Dance.

The chief rationale for the movement of Dance out of the Music Area and combining it with Theatre is the extensive use of dance courses by Theatre majors as movement and dance training. The other significant rationale for the new arrangement was the extent to which Theatre had already facilitated the offering of dance concerts and other programming.

As of spring 2005 dance curriculum officially resides in the Theatre and Dance Area. Previously the curriculum had resided in Music. Those Music course offerings were not representative of many of the disciplines being offered. Six (6) new dance courses have been created and accepted including THTR-D120 Ballet I, THTR-D130 Flamenco I, THTR-D140 Jazz Dance I, THTR-D150 Middle Eastern Dance I, THTR-D220 Ballet II, THTR-D250 Middle Eastern Dance II. The dance curriculum requires the creation of more new classes and that work was also begun in 2004 and will continue into 2005. The goal is to have the majority of the current dance curriculum in place by spring 2006 and progress towards the creation of a Minor in Dance. The most significant effect of this new curriculum is that it now accurately reflects our unique dance offerings. Currently, the foundation of our dance program is comprised of both classical and traditional curricula.

The addition of dance to the Area is an exciting development and will support the Area's mission to explore kinetic expression and create more depth in training for majors. While integrating this new program into the Area is a challenge, the future benefits are promising and will allow faculty to integrate the study of movement for theatre majors in new ways.

To date, Dance has accounted for an approximate 26% enrollment increase for Theatre (23% in Spring 2005, 29% in Fall 2004). In return, theatre has brought clarity to the curriculum of dance and a strong direction for future curricular and co-curricular development and enhancement. Dance has lacked cohesiveness and direction and we have already begun to make significant progress on those issues.

Since the last Third Year Review, Theatre has undergone some other significant changes. The most significant of those changes was the hiring of three (3) new colleagues, one in a newly created position. The newly created position was a full-time Lecturer in Theatre/Costumer. We have also hired two new tenure-probationary faculty; one Scenic Designer and one Technical Director/Lighting Designer. All of these appointments began in fall 2003. Some of the transition inherent with new appointments was eased by the history of two of the candidates with the program. The candidate hired as Lecturer in Theatre/Costumer had been serving in a staff position as costumer since 2000. The candidate hired as Scenic Designer had served as a Visiting Assistant Professor in Theatre since fall 2001. The position of technical director had been held by a one-year staff appointment. The Technical Director/Lighting Designer hired in 2003 was new to the university. With the hiring in 2001 of another Assistant Professor in Theatre, as a director, the majority of the Area faculty is relatively young in relation to the demands of higher education and the specifics of teaching at IU South Bend.

During the continued evolution of the Theatre and Dance Area assessment efforts have continued. The following represents the process, procedures and outcomes of the theatre area=s assessment efforts. Given the brief history of the B.F.A. in Theatre, assessment of that degree program will be primarily anecdotal.

Abstract

The assessment plan for the Theatre area of the School of the Arts includes the purpose of the program, student goals and various instruments used to assess those goals.

Purpose of Programs:

The undergraduate degrees in theatre emphasize knowledge and awareness of:

- the major works of dramatic literature that are representative of the most important eras in the development of theatre and drama in the western world;
- the history of theatrical production-- its styles, conventions, and socially related mores--from the ancient Greeks to the present time;
- the various means through which a theatrical concept is realized; and
- the aesthetic and intellectual relationship between theatre in its various 20th- century modes and contemporary society.

In addition, students completing a degree in theatre are expected to acquire the ability and skills to:
- analyze and interpret plays and literature with particular attention given to their selected concentration: performance or design and technology;
- use, with safety and efficiency, the tools and equipment basic to theatre production technology;
- communicate to an audience through at least one of the components of theatrical art--acting or design and technology; and

- function effectively as a member of a production team in the preparation of regularly scheduled public productions.

The Bachelor of Arts degree in theatre is designed to serve one or more of the following purposes:

- Intensive study in this particular performance art as the emphasis within the student=s liberal arts program.
- Preparation for graduate work leading to the M.A., M.F.A., Ph.D., or D.F.A. degree(s) in theatre.
- Preparation for advanced training leading to a career in the professional theatre, television, film, commercial and design industries.
- Preparation for a degree in teaching.
- Preparation for work in a non-commercial field of theatre, such as community theatre.

The Bachelor of Arts in Theatre degree program offers training to any student which meets the acceptance criteria of Indiana University South Bend. All students declaring a theatre major are accepted on probationary status into the theatre degree program. Acceptance into the degree program includes successful completion of at least one or more of the following criteria:
- Successful completion of the AFreshman Theatre Core@.
- Participation in the co-curricular production program.
- Adherence to a coherent progression of study.
- The presentation of an audition by students identifying a performance concentration, or portfolio presentation and interview for students identifying a design/technical concentration.
- Successful completion of the End of Freshman Year Review.

The Bachelor of Fine Arts in Theatre degree program is designed to serve one or more of the following purposes:

- Intensive study within the student=s concentration in Theatre: Performance, Design/Technical.
- Preparation for graduate work leading to the M.A., M.F.A., Ph.D., or D.F.A. degree(s) in theatre.
- Preparation for advanced training leading to a career in the professional theatre, television, film, commercial and design industries.
- Preparation for a degree in teaching.

The B.F.A. degree program in theatre offers pre-professional training to a limited number of highly motivated and talented students aiming at professional careers. The B.F.A. student pursues one of the following possible areas of concentration: performance or design and technology.

Admission is limited not only in terms of student capacity, but also to ensure the type of individual attention necessary for effective training. Interested students should identify themselves as early as possible.

Formal application to the performance and design/ technology concentrations can be made upon entrance, after the freshman year, or at the Mid-Course Review.

A student may apply for all areas of concentration, but can be admitted to only one. Counseling in advance is highly recommended. Auditions/interviews are held as necessary. Admission is based on the following criteria:

- audition-interviews, or portfolio-interviews;
- talent;
- academic record; and
- motivation.

The Theatre and Dance Area of the Ernestine M. Raclin School of the Arts offers programs of study which lead to a Bachelor of Arts, Bachelor of Fine Arts, Associate of Arts, and a Minor, all in Theatre. The Theatre Core (discussed in more detail following) serves as the foundation for all degree programs and minors administered by Theatre and Dance. The Core is consistent for the B.A. and B.F.A. Successful participation in major season productions as directed by the Area Coordinator is required for all of the degree and minor programs. The academic and production aspects of the program are integrated to provide students with extensive opportunities for experiential learning in the art of theatre and dance. The ability of the student to be ready, willing, and able to take advantage of the curricular and co-curricular aspects of the program is proportionate to the amount learning opportunities achieved. The program has established and maintains a Freshman Participation Requirement. That requirement limits co-curricular production participation to potentially one major production assignment per semester. This standard was established to facilitate the beginning students transition to the university. The program also has established and maintains a Grade Point Average (G.P.A.) minimum of 2.0 (a 4.0 scale; overall, and within semesters) for co-curricular participation. All majors must achieve and maintain a 2.0 G.P.A. average to be eligible for consideration for major production assignments in co-curricular activities: casting; stage management and assistant stage management; design opportunities; design assisting. Within the curriculum of Theatre and Dance, majors must achieve a minimum G.P.A. of 2.0. The school has also established (2004) and maintains a minimum 2.0 in W131 Elementary Composition.

The Bachelor of Arts degree program requires at least 30 credit hours must be at the 300-400 level. This is a higher standard than many comparable degree programs. It is a significant hallmark of the standards of our program. Students must also successfully accomplish an approved senior project/recital.

The Bachelor of Arts program is rigorous, designed to give students a broad acquaintance and experience with the various ways theatre artists study, interpret, and articulate the world in which they live. The degree requires a minimum of 122 credit hours; General Education Requirements are 53 credit hours; Communications (6 cr.) W131 Elementary Composition must be accomplished with at least a C/2.0 G.P.A.; Foreign Language (6 cr.) two semesters of the same language; Humanities (21 cr.); Science and Mathematics (11 cr.); Math must be accomplished with M107 College Algebra or M110 Excursions in Math, and one science course must include a laboratory component; Computer Science (3 cr.); Social Science (6 cr.) one course (3 cr.) must be in C200 Introduction to Mass Communication and a course (3 cr.) from anthropology, economics, geography, political science, psychology, or sociology ; the World Culture and 2nd Level Writing requirements are accomplished within the major in THTR T470 History of Theatre 1 and THTR T471 History of Theatre 2; Electives (27-28 cr.). With the creation of the Bachelor of Fine Arts degree program, the program offers B.A. students with extensive opportunities to achieve electives within the Theatre & Dance curriculum.

The Theatre Core (33 credit hours) comprises the foundation of the Theatre Major. The Core is consistent between the B.A. and the B.F.A. and serves as the foundation for the A.A. and Minor programs. The Core comprises the philosophy of our program for all theatre majors and minors. Core credits are devised to provide our students with fundamental experience with, and understanding of, the major components of Theatre. It is our ambition through this curriculum to provide our students with at least a fundamental understanding and appreciation of/for the collaborative nature of their career choice.

The Core credits include a Freshman Core of T120 Acting I, T150 Play Structure and Analysis, T225 Stagecraft I, T228, Design for the Theatre, and T230 Stage Costuming I. All of the Freshman Core courses are three (3) credit hours. T120, T225 and T230 each have a laboratory component of twenty (20) hours. In the Acting course the laboratory may be fulfilled with performance activities if casting is achieved. The laboratory for T225 and T230 are within the discipline of the specific class: scene shop, costume shop, or backstage crew; dresser, properties, board operators, etc.

The rationale for the Freshman Core is to provide students experience with the philosophy of the Theatre Core at threshold. We have learned through experience that the student that is most effective in our program has followed the prescribed first year of study. However, with transfer students and late-arrivals to the course of study, there are a plethora of reasons, sometimes good, often unavoidable, why students are unable to matriculate ideally. However, again through experience, as born out in reviews and in other indicators of student progress, student difficulties in the program are proportional to the amount that the individual student has had, or sometimes chosen, to diverge from the ideal. The primary reasons for this are perhaps many, but the primary ones are the products of either a lack of experience, or the quality of that experience. At present, the majority of regional high schools often have negligible, at least haphazard, theatre programs. Generally in those cases, skills and at least appreciation for in-depth development of skills has been circumvented by expediency. At a few selected regional high schools, the theatre programs are more elaborate and more carefully maintained. Generally however those programs maintain an environment of specialization; actors act, designers and technicians design and do technical activities. And, generally, the design process (if practiced) and execution, along with the requisite technical requirements, are performed haphazardly, expediently. Given this, many students may come to the program thinking performance is the singular area of study because they have little substantive experience to think otherwise. Thus, through the experience of the Freshman Core they are provided the opportunity to gain a different, better informed perspective, and perhaps even another area of interest within the Theatre.

In the Sophomore year, or after completion of the Freshman Core and the conclusion of at least 24 credit hours, and the End of Freshman Year of Review, all majors begin their first of three THTR T349 Theatre Practicum credits. Theatre Practicum credits, taken for one (1) credit hour over three semesters, are devised to emphasize the relationship of the curricular and co-curricular aspects of the program and to provide students with production activities for which they are responsible and for which their contribution will be graded. The Theatre Practicum credits demand a level of responsibility and commitment in co-curricular activities that may not have been achieved earlier in their progress. For students specializing in Performance, at least one of the three- one credit Theatre Practicum credits must be accomplished in the undertaking of a design/technical activity, including board operation, dresser, run-crew, properties, flys, etc. As such, the Theatre Practicum credits serve as a tool for Assessment. A student with a declared area of specialization that has difficulty achieving Practicum assignments within that specialization may be in the wrong area of specialization. While students may declare a specialization at threshold, it does not become a formality until the conclusion of the End of Freshman Year. Prior to the conclusion of the End of Freshman Year Review all students in the major are Pre-Theatre and Dance majors. Since Practicum credits do not occur until at least the beginning of the second year of study, they comprise a major event with the approach of the Mid-Course or Upper Divisional Reviews (at approximately 56 credit hours) and can often serve as another piece of evidence in the task of guiding individual student matriculation.

As a Core course T340 Directing 1 is typically undertaken at the approximate mid-point of student progress towards graduation. As such, Directing 1 can provide an opportunity for assessment of student progress. Directing 1 also often serves another purpose. Often, students (both majors and non-majors) wish to take Directing with little or no understanding and experience with the endeavor of making theatre. We have found it necessary and useful to maintain the integrity of the class with pre-requisites, along with careful advising. The objective is to ensure that students gain as much experience as possible following in preparation for the leading required for Directing. T470 History of Theatre 1 and T471 History of Theatre 2 are typically taken in either the junior or senior year. Since both entail accomplishing the Level 2 writing requirement, along with a survey of the major events of theatrical history, both function as an excellent complement to T483 Topics in Theatre & Drama. Topics in Theatre & Drama deals with a survey of current trends in dramatic literature through reading and discussion. Assessment is undertaken in written papers and essay exams.

The B.A. also requires Areas of Specialization for a total of nine (9) credit hours. There are four (4) potential specializations: Performance, Design, Technical, and Theatre Studies. In Performance those courses include THTR T320 Acting III, THTR T420 Acting IV, MUS V211 Singing for Actors I, and THTR T349 Theatre Practicum for 1 credit. In Design those courses include FINA F100 Fundamental Studio-Drawing, Two course from: THTR T290 History and Design of Stage Makeup, THTR T326 Scene Design, THTR T433 Costume Design, and THTR T438 Lighting Design. In Technical: FINA F100 Fundamental Studio-Drawing, two courses from: THTR T424 Stagecraft II, THTR T425 Stagecraft III, and THTR T430 Stage Costuming II. In Theatre Studies: THTR T405 Stage Management and one course from: THTR T220 Acting I, THTR T223 Vocal & Physical Preparation, THTR T431 On-Camera Techniques, THTR T479 Problems in Performance; one course from: THTR T290 History and Design of Stage Makeup, THTR T327 Period Styles, THTR T330 Rendering, THTR T332 Scene Painting, THTR T326 Scene Design, THTR T425 Stagecraft III, THTR T433 Costume Design, THTR T438 Lighting Design.

Each specialization was created to provide effective curriculum for students, while providing the flexibility and opportunity to further define the specialization for individual career objectives. Since the specializations begin at the approximate mid-point of student matriculation, there have been at least two formal review opportunities for the faculty and student to assess the abilities of the student in relation to the designated area of specialization. Based on reviews, academic/curricular, and co-curricular participation outcomes the designation of an Area of Specialization demands consensus of the student and the Area faculty for acceptance.

The specialization in Theatre Studies was created in Fall 2003. Our first student to graduate with this specialization will take place in May 2005. Therefore, beyond the usefulness of the new specialization for this individual student, it is difficult to assess the effectiveness of the new specialization. We believe it will be useful for specific students that lack the abilities required of the other specializations, or choose a more general theatre specialization.

The Theatre Core is a matter of contention for some majors. As an example: performance concentration majors often question their enrollment in design/technical classes such as THTR T228 Design for the Theatre and THTR T230 Stage Costuming 1. It is clear that effective advisement clarifies the purposes of the Core, but the very need for such careful attention speaks to the prevalence of student misconceptions about the Theatre, and even the study of performance. Those misconceptions have roots in the trend by other, primarily larger college/university programs, to stress specialization at threshold for undergraduate students. Our Core is founded on the principle of fostering an appreciation and experience for the entirety of theatre practice and artistry and perhaps preparing potential theatre artists. The Core is the foundation of our program. And there is little doubt that it is a matter of increasing conflict between the program and its beginning students. With the ever present issue of enrollments and the demands of the co-curricular program, it is increasingly challenging to maintain the integrity of the very foundation of our program. But standards are meant to establish and maintain minimum standards of learning and the processes and traditions of the theatre are of vital importance. Our Core, and our commitment to it is a significant hallmark of our program. The Core is the philosophy of our program born out in curriculum. It is the spine of the degree earned by our students. Threshold advising is the time when the philosophy of our curriculum is presented one-on-one to each student, and yet, as born out by assessment activities, it is generally misinterpreted, rationalized, at least often underappreciated by students. The Core ultimately serves as the most significant assessment tool of the program. As such, the Core provides the entire Area faculty experience with all students engaged in the program. It also provides students experience with the primary objective of our curriculum. Thus, the Core may serve to dissuade the less committed student from continuing in the program.

Student Outcomes Statement:

Upon completion of the Bachelor of Arts and the Bachelor of Arts Degrees in Theatre, all students need to demonstrate:

- Ability to analyze and interpret dramatic literature;
- Knowledge of theatrical history and how to apply that knowledge for use in performance and/or production.
- An understanding of the elements of design and how the visual aspects of the production contribute to the overall performance.
- An understanding of how an actor prepares for a role.
- An understanding of the collaborative nature of theatrical art and the roles the various artists play in the production of that art.
- An understanding of the fundamentals of theatre technology.
- Skill in critically analyzing theatrical productions.
- Assimilate and utilize the above skills in performance and/or production.

It is a traditional component of theatre study that a theatre student develops through curricular and co-curricular experiences. The academic major program in theatre consists of a basic core, to ensure some breadth of knowledge in the history and practice of theatre, and additional courses (concentration) to be selected to best serve the student=s specific interests and vocational goals.

The theatre=s co-curricular requirements are designed to ensure an adequate practical knowledge of the performance and production of theatre, insight into the state of the profession, and advanced work to develop the skills requisite to the student=s vocational field. To that end, theatre students must participate in the production aspect of the Theatre Area as directed by the
theatre faculty.

1) Brief Overview of the Theatre Area Assessment Process

The following comprise the Theatre Area=s Assessment Processes

- Entry Level Review
- Performance Review
- Mid-Course Review
- Capstone Experience
- Exit Interview

The entry level review is used to assess two focus groups: those primarily interested in acting and those primarily interested in design/technical work. These reviews are conducted at the beginning of each semester and acting students are required to audition and design/technical students are required to show a portfolio. All faculty are involved in entry level reviews.

Performance Reviews are formally conducted for all theatre students once a year and are conducted by the entire theatre faculty. All performance students, with the exception of freshmen, are required to audition and all design/technical students, again with the exception of freshmen, are required to present a portfolio. All of these students also present a resume that conforms to professional practice. All students participate in an interview. Freshman must participate in a review of their first year. During this review the student is provided the opportunity to reflect on the year of study and participation in the co-curricular production program. The student is also encouraged to discuss individual strengths and weaknesses and their academic progress. Since final grades are not available at this time, insight can be gained about each students objectivity in relation to academic progress once their actual academic progress is determined. In turn, the faculty address academic issues specific to theatre, curricular shortfalls, potential advising issues, and skill development and enhancement for preparation for the next academic year. It has also become a growing trend for more theatre students to participate in professional theatre experience in the summer. Time is taken to discuss the potential challenges and opportunities inherent to each situation. In some cases, summer theatre experiences conflict with the beginning of school in the Fall semester. Therefore, careful planning needs to take place to clarify those students transition back to school and their participation in co-curricular activities.
The Mid-Course Review is formally conducted when a theatre major has arrived at the approximate mid-point of their studies: 56 credit hours and/or 18 credits in the major. For the Mid-Course Review all acting students are required to present an audition and all design/technical students are required to present a portfolio. These students also present a resume of theatrical work. All majors must participate in the Mid-Course Review for the opportunity to continue in the course of study.

The Capstone Experience is required of all graduating theatre students and may include the following: the design or direction of a theatrical production, presentation of a major role, presentation of a senior recital, submission of a portfolio, and/or a project approved by the theatre faculty. The capstone experience is seen by all the theatre faculty but is formally reviewed by the faculty members of the focus group.

The Exit Interview is required of all graduating theatre majors and provides an opportunity for the student to discuss the program with the entire theatre faculty and to individually present future goals in the theatre profession.

Since the fall of 1997, the theatre faculty has continued to use the Faculty Inventory instrument as a tool to make program or curriculum decisions. The documentation of this instrument was formalized in the fall of 1998 using the guidelines suggested in Designing & Assessing Courses & Curricula, a practical guide by Robert M. Diamond. The theatre faculty currently uses this guide in all our assessment activities. Given the changes in the composition of the faculty of the Theatre Area it remains to be determined whether the faculty will continue to use this tool as an assessment instrument.

2) a set of completed Annual Report forms; 2002-2003, 2003-2004; 2004-2005 (partially completed)

Please see the attached addenda at the conclusion of this document.

3) a review of relevant instruments and documents

Entry Level Reviews

The theatre and dance area faculty have continued to be challenged by entry-level students. The majority of our freshman or new students have extremely limited experience with the practical experience of theatre in production. Most of our entry-level students were freshmen with divergent skills. Some did not know how to audition and none of the design/technical students had portfolio materials. Throughout time, entry-level auditions have improved but design/tech students still had no materials to present. Faculty expectation changed for all entry-level students and increased recruitment efforts were undertaken with hopes of attracting more skilled entry-level freshmen. However, the recruitment efforts previously reported (2002) have continued to evolve.

Analysis of recent results shows that the composition of our entry-level students has continued to change. We have more students entering our program who already have college credits either as theatre majors transferring into our program or from other schools on campus. In selected cases those students already have degrees from other I.U.S.B. schools or divisions. This presents problems for a student=s academic progress through the theatre program. The greatest impact is on the student=s progress in the production aspect of the program. To be successful theatre artists, students need considerable production work and this is only obtained through time and experience. The theatre faculty has contended with this challenge, and will continue to do so. Faculty input has encouraged one student to remain at IU South Bend in order to obtain appropriate production experience. In other instances the faculty has encouraged students to adhere to a course of study which will facilitate their effective progression through the course of study in concert with the co-curricular production activities of the area. Co-curricular production opportunities remain available to all of our students.

Performance Reviews

All theatre students participate in this review, as do all faculty. This is a time-consuming process, but an invaluable one. Each student, beyond the freshmen year, presents audition or portfolio materials and a theatrical resume. The faculty discusses with each student, including freshmen, academic and production progress in the program. Analysis of the focus groups (acting and design/technical) is conducted by the faculty after these individual reviews.

Please see the attached for copies of the following assessment tools on Pages 16-23:

Performance/Audition Evaluation Form

Senior Performance Recital Guidelines and Evaluation Form

The Performance/Audition Evaluation Form
The performance evaluation form derives from the Performance Rubric. In the audition situation for the co-curricular production program the form is typically filled out by the directors casting the productions. In reviews and for scholarship application the performance evaluation form is filled out by all members of the theatre faculty. In each forum in which the performance evaluation form is utilized the student is provided a copy of the form(s) and an oral discussion of the accomplishments of the audition and a statement of objectives to be pursued for future auditions.

New Student Audition Guidelines

The Portfolio and Interview Form: Design/Technical
The portfolio and interview form derives from the Design/Technical Rubric. In the portfolio and interview situation during reviews and for scholarship application the form is utilized by all members of the theatre faculty.

Senior Performance Recital Guidelines and Evaluation
The Senior Performance Recital is aimed at ensuring performance students leave the program with a group of audition selections which will facilitate their efforts as actors beyond the university. The required pieces which comprise the recital address the range of selections that will meet the audition situations at virtually all theatres in the country. The selections and the minimum requirements specified for preparation for the performance of the recital ensure that the student has the appropriate tools to audition effectively beyond the university.

The evaluation form for the Senior Performance Recital strongly parallels the Audition Evaluation Form which the senior student has grown quite familiar during their progression through the program. However, the elements utilized to assess the Senior Performance Recital are more specific and substantive.

Capstone Experience
All graduating seniors participate in this production experience. Generally the faculty has found student outcomes to be successful. Graduate school faculty have also commented that this has provided an important portfolio element for design/technical students. The utilization of the Capstone Experience has taken place by all senior theatre students since 1994. The Capstone Experiences have ranged across an extensive cultural and historical spectrum of dramatic literature. For the Capstone Experience the senior student prepares extensive research on the playwright, the period and context of the play, and the demands of the play found in the text. This preparation usually involves the formal preparation and presentation of research. These students also provide a leadership role during the experience. Performance concentration students lead the cast of the play through the rehearsal and performance process. This leadership role usually includes responsibility for some element of performance discipline specific to the production. Discipline specific elements have included stage combat, movement, verse speaking, and mask work. Students with a design/technical concentration provide leadership in the area in which their Capstone Experience resides. A student costume designer usually plays a significant role in supervising the costume shop. A lighting design student supervises the hang and focus of the lighting instruments. The student scenic designer will often prepare working drawings for construction and supervise the scene shop stop through the construction process. The student with a technical concentration will supervise the specific area of their concentration.

A Capstone course was developed and accepted in spring 2005. This course was developed to formalize the Capstone requirement and the assessment of it. While students generally

Exit Interviews
The Theatre Area conducts exit interviews of all graduating seniors. Informal review of the theatre program and discussion of career plans are conducted at this time. Student satisfaction is high and career plans seem realistic. We are in the midst of discussing the creation of an alumni survey as an assessment instrument for the theatre.

CONCLUSION: a review of relevant instruments and documents

Entry Level Reviews:
Recruitment efforts have continued to evolve. In the fall semester of 2003-2004 and the fall semester of 2004-2005, the Area again hosted Theatre Days. Theatre Days provide participating students from regional high schools with intensive experiences in performance and design/technical activities. A portion of one of our productions is also presented with all production elements followed by a discussion with the entire group along with our cast and crew. Theatre Day is an effort to get high school students from the region on campus to participate in theatre activities and gain insight to the standards and practices of theatre at Indiana University South Bend and consider further study in theatre. The December 2003 Theatre Day had 91 participants from four high schools. The December 2004 Theatre day had 65 participants from three high schools. The opportunity to bring high school students to campus for a day of theatre activities was deemed a vital part of our recruitment and outreach endeavors. Other recruitment efforts have continued. Since 1991 the Theatre Area has maintained a vital presence in Indiana State Thespian activities. Indiana Thespians is a state-wide organization for high school theatre students. Faculty members also present numerous workshops at schools in the region.

Recruitment remains a huge challenge and remains a high priority. Identified as the primary cause of this problem has been the deterioration of theatre programs and activities in the high schools of the region, particularly within the South Bend Community School Corporation. The leadership at each of the South Bend high schools has remained increasingly fluid. In fact, within the region, Penn and Mishawaka High Schools have remained the exceptions. In the majority of area high schools the theatre programs, if they exist, are being led by community members. These community members function without official status within the schools and often work with the students on a production-by-production basis. Which means that there is a lack of continuity within the theatre programs at these schools. The effect of this lack of continuity often negatively effects the fostering, or nurturing, of student interest in the discipline of theatre. Standards and practices are also often haphazard. We know this because some of our least accomplished students have been hired to direct some of these productions without faculty involvement. These realities make it virtually impossible to develop a relationship within individual schools to facilitate student recruitment. And budget shortfalls have made field trips a luxury most schools cannot afford. This certainly negatively impacts the interested student and it has made recruitment efforts increasingly challenging. One of the best indicators of this problem is the general lack of participation by South Bend schools in the Indiana State Thespian Organization. At the most recent State Thespian Conference in March 2005 at the University of Indianapolis, two regional students participated in the college scholarship auditions provided for Seniors: one student was from Mishawaka High School and one was from South Bend=s John Adams High School. There were no participants in this opportunity, a key indicator of interest in college theatre, from Penn High School, the Elkhart schools, Goshen, LaPorte, Warsaw, etc. However, it is notable that both of the students from this region that participated in the Thespian college scholarship auditions have applied to I.U.S.B. and will be auditioning for theatre scholarships at I.U.S.B. on May 25, 2002. One of the students also earned the top scholarship award presented at the conference.

Since 1999, through the Improvisation Troupe and workshops, recruiting efforts have been primarily taken to the schools in the region. While this constitutes a legitimate effort there are significant shortfalls inherent in this type of approach to recruiting. These shortfalls derive from the following factors: the Troupe performances or workshops must take place during the school week and during school hours; membership of the Improvisation Troupe is derived from theatre students at I.U.S.B; these students are usually extensively involved in both academic and co-curricular activities; leadership of the Troupe and the workshop presenters are faculty members; therefore, performances of the Troupe and workshops must be carefully scheduled. Since its inception in February 1999 the Troupe has averaged three performances during each semester. These performances of the Troupe have been received with great enthusiasm. That enthusiasm is most effectively assessed by the efforts of the schools at which the Troupe has performed to reschedule the group for future performances. However, three Troupe performances per semester can make only a limited impact on recruiting. Workshops, led by a faculty member, make an additional effort, but again, three to four workshops per semester can only accomplish so much. In-school recruiting is certainly a worthy effort but it does not offer the same promise as bringing the students to our campus.
End of Year Review:
The annual review process provides an excellent opportunity to assess the progress of each student during their progression through their individual courses of study within the theatre program. The opportunity to formally address issues that arise has facilitated the progress of all students in curricular and co-curricular activities. It is also true in cases where student progress has culminated in dismissal from the degree program, or students decisions to choose another area of study.

Upper Division Review: Mid-Course
The Mid-course Review provides the student and the faculty with the vital occasion to assess the competency of the student in relation to an area of concentration. For the rare student that has not designated an area of concentration through either self-selection and/or ability, the mid-course review provides the opportunity, based on the presentation of the student, for the faculty and student to arrive at a mutual understanding of a concentration. In cases where the prepared material is not substantive of enough to inform a determination of concentration a rehearing is scheduled and faculty guidance provided. The outcomes of re-hearings are typically positive, but some individuals have been dismissed from the course of study based on ineffective accomplishment in relation to specified activities.

Capstone:
The Capstone Experience remains critical for the students and faculty of the Theatre and Dance Area. The Capstone demands that each student prepare and present evidence of their abilities to meet the challenges of their chosen concentration beyond the university. The Capstone demands that the student gather these tools, practice them, and present them. In accomplishing these tasks the student has acquired the requisite tools to audition or interview for future employment or academic opportunities. Whether the student chooses to utilize those tools or not, the program has accomplished the task of providing the student with the knowledge that they have gained the appropriate tools.

Exit:

The Exit Review also remains critical for the students and faculty of the Theatre and Dance Area. The Exit Review is certainly one of the most rewarding experiences for the faculty. The opportunity to share for the final time with a departing student and review their progress through the program and their contributions to the program. For the student it is also the opportunity to review the course of study and their individual accomplishments within it. They are also provided the opportunity to discuss shortfalls within the course of study. These discussions have continued to make a strong impact on the development of the course of study.

Conclusion:
At first glance it may appear to be otherwise, cases such as those presented in the section on Mid-Course Reviews, provide strong evidence of the strength of the review process. In the specific case of those two students they were, or have been, accorded the opportunity to adjust their progress within the course of study. While the faculty committee frames the formal proposal the process begins in interview with the student in response to their presentation and academic and co-curricular progress. The student has the opportunity to shape the proposal before it is formalized. While dismissing a student from the degree program may seem drastic and perhaps even be taken to represent a waste of student efforts, fairness and due process must be provided all students.

The reviews provide a critical venue for the Theatre and Dance Area faculty and students. It provides both groups of stake-holders the opportunity to meet annually and individually. All of the reviews, with the exception of the End of Freshman Year Review, require a prepared presentation by the student which is evaluated by the faculty. All reviews include an interview. The interview is the opportunity for the student to discuss self-perceptions about progress in their academic and co-curricular endeavors and to discuss the planning and implementation of future goals. Students also have the opportunity to discuss curriculum areas in need of improvement within the program and in the co-curricular production program. After discussion with the student the faculty shape mutually defined goals to facilitate the progress of each student. These goals are formally presented usually the day following the conclusion of the review process. The formal presentation of the objectives includes both a discussion between the student and a member of the faculty that teaches within the students= concentration and a hard copy of the objectives for facilitating on-going progress.

It is clear from the Assessment Reports prepared by the Theatre and Dance Area and the following, A5) a summary of actions taken@ that the Review/Assessment Process is indeed an extremely useful endeavor for the disciplines of theatre and dance at Indiana University South Bend.

It is notable that Reviews have always been a traditional and essential part of theatre practice. Whether literally, as in reviews of productions found in newspapers, magazines and on television, or in the efforts of theatre practitioners to study innovative ways of approaching the discipline of theatre specific to their area of expertise. Perception of theatrical endeavors is never the only consideration when shaping or creating those endeavors. Whether it is the perception of the audience or the participant, reflection and review must always play the significant role in shaping the endeavor of studying, making, and practicing and performing theatre.

4) a discussion of data analysis

The data reveal that the Review process helps the students and the faculty of the Theatre and Dance Area to make a more effective Theatre and Dance program. Student skills are enhanced and developed. Thorough feedback is given to each student in the effort of facilitating their continual growth through the course of study. The faculty are constantly refining and enhancing curricular and co-curricular endeavors based on student outcomes and feedback.

However, it is again emphasized that the Review processes often appear to have a negative impact on enrollment numbers while facilitating the evolution of the program and its students. The processes of measuring student outcomes and providing them with oral and written assessment of their progress annually can appear daunting to students. This is particularly true when the student can look to other disciplines that do not so carefully monitor their progress through careful review and assessment activities. Acquiring more effective academic, performance, and personal skills can be challenging. Often at the critical juncture where effective changes are most likely to occur, safety can appear quite attractive. Change is challenging, and can appear threatening, so the question for a student may be: why make changes when there are other disciplines that do not appear to demand such efforts? While that can often be a positive outcome for a student, a program and the university, there are certainly cases where the student is not being effectively served where there exist vagaries in standards across disciplines; some disciplines on this campus do not have coherent review processes. These challenges also confront the faculty of the Theatre and Dance Area. To endeavor to effectively prepare students for the various reviews they will encounter comes through thorough training in the classrooms, studios and rehearsal halls of the discipline. Effective advising also plays a critical role. But in entry level classes there are various students with other majors participating. The challenge of effectively preparing students in the major, raise the standards in introductory courses, and all students are served. Increased standards serve all students more effectively. The faculty of the Theatre Area would concur.
5) a summary of actions taken, 2002-2005:

- Theatre (formerly the Theatre Area and Dance (formerly part of Music) are joined forming the Theatre and Dance Area. (August 2003)
- The creation of the concentration in Theatre Studies for Bachelor of Arts degree program. (November 2003)
- The creation of six (6) new courses in dance: THTR-D120 Ballet I, THTR-D130 Flamenco I, THTR-D140 Jazz Dance I, THTR-D150 Middle Eastern Dance I, THTR-D220 Ballet II, THTR-D250 Middle Eastern Dance II. (January 2005)
- The creation and/or enhancement of six (6) courses in theatre. THTR-T327 Period Styles, THTR-T330 Rendering, THTR-T332 Scene Painting, and THTR-T485 Capstone Course were created and accepted. A revision of the former T349 Speech and Theatre Practicum to THTR-T349 Theatre Practicum was made and accepted. (January 2005)
- Thirteen (13) productions and two (2) dance concerts (2004-20005) were cast, staffed, and design opportunities assigned; Not A Trust, The Story of Ball Band and its People; Just So Stories, The Birthday Party, Five Women Wearing the Same Dress, Playhouse Creatures, The Little Prince, The Rainmaker, Fuddy Meers, Scapino, Winnie the Pooh, A Christmas Carol, Who's Afraid of Virginia Woolf?, and Hay Fever. (2002-2005)
- Acquisition of three (3) mylar portable mirrors, 3'X6' for use in theatre and dance classes. (July 2004)
- A Welcome Reception was established in August 2004 to welcome new and returning students and inform all of the expectations and curricular and co-curricular activities of the Area. (August 2004)
- Designation by the Area faculty of Recruitment as the highest priority. Recruitment Plan Development in process. (November 2004 and continuing)

6) an overview of proposed future plans for assessment.

The substance of review policies and processes have not changed significantly since the 2002 Third Year Review. However, the creation of the Bachelor of Arts in Theatre with a concentration in Theatre Studies constitutes a significant change. That development was the outcome of the review processes undertaken by the area.

Our chief concern remains Recruitment. In 2004-2005 the faculty undertook visits to area high schools to view productions and discuss the efforts with the students and teachers. The planning and selection of the co-curricular production program remains a vital activity for the Area and it is strongly informed by review outcomes. The season selection process is informed by the history of the program both long and short-term. Another key consideration is determining plays that most effectively meet the needs of the students from within all of the degree concentrations of the theatre program.

Assessment and Review will continue to positively impact the Theatre and Dance Area. It will also continue to be a learning process for all of the members of the Theatre and Dance Area faculty and the students of the Area.

Addenda Assessment Instruments Example

AUDITION EVALUATION

NAME__________________________________ DATE:_________________________

PIECE (1)_____________________________PIECE (2)_______________________________

EVALUATOR:________________________________________________________________
PREPARATION: (INTRODUCTION, ATTIRE, MEMORIZATION, UNDERSTANDING AND CONTROL OF MATERIAL, CHOICE OF MATERIAL)
1 lowest 10 highest
1 2 3 4 5 6 7 8 9 10

EMOTIONAL/IMAGINATIVE LIFE OF PIECES: (STAKES, ENVIRONMENT, RELATIONSHIP, FOCUS, PERSONALIZATION)
1 lowest 10 highest
1 2 3 4 5 6 7 8 9 10

USE OF VOICE: (ARTICULATION, VOCAL SUPPORT, FLEXIBILITY/VOCAL CONTRAST)
1 lowest 10 highest
1 2 3 4 5 6 7 8 9 10

PHYSICAL WORK: (PHYSICALIZATION OF CHARACTER, GESTURE, FLEXIBILITY/PHYSICAL CONTRAST)
1 lowest 10 highest
1 2 3 4 5 6 7 8 9 10

PERFORMANCE: (EXPRESSION OF JOURNEY, BELIEVABILITY, COMMITMENT)
1 lowest 10 highest
1 2 3 4 5 6 7 8 9 10

ACOLD@ READINGS:

COMMENTS:

PORTFOLIO AND INTERVIEW EVALUATION

Name:_______________________________________ Date:________________________

Level: ____Entrance _____Mid-Course ______Exit

____Experience _____Other:____________________________

Rating Scale is from 1-5 with 1 being poor and 5 excellent. Please provide rating and comments

CONTENT
Choice of Material

Appearance

Originality/Creativity

Understanding of Material

PRESENTATION
Personal Appearance

Organization

Verbal Presentation

GENERAL COMMENTS:_____________________________________________________

____________________________________________________________________________

____________________________________________________________________________

SPECIFIC OBJECTIVES:_____________________________________________________

____________________________________________________________________________

____________________________________________________________________________

Signature of Evaluator:___________________________________

MID-COURSE PERFORMANCE EVALUATION

NAME:__________________________________ DATE:_________________________

PIECE (1):_____________________________PIECE (2):_____________________________

EVALUATOR:________________________________________________________________
PREPARATION: (INTRODUCTION, ATTIRE, MEMORIZATION, UNDERSTANDING AND CONTROL OF MATERIAL, CHOICE OF MATERIAL)
1 lowest 5 highest
1 2 3 4 5

EMOTIONAL/IMAGINATIVE LIFE OF PIECES: (STAKES, ENVIRONMENT, RELATIONSHIP, FOCUS, PERSONALIZATION)
1 lowest 5 highest
1 2 3 4 5

USE OF VOICE: (ARTICULATION, VOCAL SUPPORT, FLEXIBILITY/VOCAL CONTRAST)
1 lowest 5 highest
1 2 3 4 5

PHYSICAL WORK: (PHYSICALIZATION OF CHARACTER, GESTURE, FLEXIBILITY/PHYSICAL CONTRAST)
1 lowest 5 highest
1 2 3 4 5

PERFORMANCE: (EXPRESSION OF JOURNEY, BELIEVABILITY, COMMITMENT)
1 lowest 5 highest
1 2 3 4 5

COMMENTS:

AUDITION REQUIREMENTS FOR NEW STUDENTS

PLEASE READ THESE INSTRUCTIONS CAREFULLY. FOLLOW THE INSTRUCTIONS.

1) Fill out the audition form completely, carefully and legibly.

2) If you have a monologue(s) please sign up for an audition slot with the Stage Manager.

3) If you do not have a brief, less than 2 minutes, monologue:
A) Please choose a favorite song that you will sing in the audition space. Yes, you can sing.
B) Choosing ONE of the following options tell a brief, one to two minute story:
i) The Worst Day of Your Life.
ii) The Best Day of Your Life.
iii) The Most Interesting Person You Have Ever Met.
iv) Some other option that fits in with the presented examples.

4) Follow the following audition structure:

A) Enter the space when advised.

B) Introduce yourself.

C) Announce your song and sing it.

D) Announce your Story (give it a title) and tell it.

E) Some questions will probably follow.

5) CONGRATULATIONS!!! You have accomplished your first audition. Thank you!

Senior Performance Recital Requirements

Consists of 5 five solo pieces and 1 scene.

NOTE: In addition to the performance of this recital a part of your grade on this Senior Audition Recital will be dependant on your organization of this process; including the work with your partner and the scheduling of rehearsals with the performance faculty. Another aspect of your grade will be dependant on your ability to address and utilize the feedback
you receive from the performance faculty.

Solo Pieces (Each piece must be two minutes or less):
1) A Shakespeare piece in verse
2) A contrasting Shakespeare piece
3) A Moliere (Richard Wilbur translation)
4) A piece that shows off your special skills or individuality
5) A piece that is against your type

Scene:
6) A contemporary scene played with one other actor.
The scene partner must be a currently enrolled student majoring in theatre with a performance concentration.

Minimum preparation parameters:

1) Pieces must be chosen from published plays and or literature.
2) Pieces must be approved by the performance faculty.
3) There must be a minimum of 2 rehearsals with the performance faculty prior to the recital. Each rehearsal must be at least a week apart.
4) The recital will be a public performance under the auspices of the Theatre Area of the School of the Arts.
5) The recital shall be no longer than 15 minutes
6) The performance will be contiguous with simple/essential use of costume pieces and props as needed.

SENIOR PERFORMANCE PROJECT EVALUATION

NAME__________________________________ DATE_____________________________

EVALUATOR:_______________________________________________
_____________/80=__________%

PREPARATION 1 2 3 4 5

APPAREL CHOICES1 2 3 4 5

PRESENTATION 1 2 3 4 5
DECISIONS

JOURNEY 1 2 3 4 5

ENCOUNTER 1 2 3 4 5

FOCUS 1 2 3 4 5

CONTRAST 1 2 3 4 5

PERSONALIZATION 1 2 3 4 5

BELIEVABILITY 1 2 3 4 5

USE OF EMOTION 1 2 3 4 5

RANGE REVEALED 1 2 3 4 5

ACTION OF LANGUAGE 1 2 3 4 5

VOCAL VARIETY 1 2 3 4 5

ARTICULATION 1 2 3 4 5

PHYSICALITY 1 2 3 4 5

PHYSICAL VARIETY 1 2 3 4 5

COMMENTS:

Assessment Activities, 2002-2003

Note: The majority of these assessment activities were videotaped. Records exist since Fall 1994 and are located in the office of the Area Coordinator of Theatre.


Date:

DEC 2002

JAN 2003

Date:

JAN 2003
Continued.

MAY 2003

Date:

MAY 2003
continued.

Date:

MAY 2003
continued.
Assessment Activity:

Performance Reviews:

End of Freshman Year

Mid-Course

BFA

End of Freshman Year

Mid-Course

Assessment Activity:

Mid-Course

Exit

Capstone

End of Year

End of Freshman Year

Assessment Activity:

Mid-Course

Scholarship

Capstone

Exit

Assessment Activity:

Exit Sample & Findings:

All, two (2) students failed to participate.

All, one (1) student participated; Discipline Specific knowledge and skills: NOT as well as expected.
Personal development and career preparation: NOT as well as expected.
Basic academic success skills: NOT as well as expected.
Academic values: NOT as well as expected.
Higher order thinking skills: NOT well as expected.

All, one (1) student participated; Discipline Specific knowledge and skills: BETTER than as expected.
Personal development and career preparation: BETTER than as expected.
Basic academic success skills: AS well as expected.
Academic values: BETTER than expected.
Higher order thinking skills: AS well as expected.

All, two 2 students did not participate.

One (1) of two (2) participated;
Discipline Specific knowledge and skills: AS well as expected.
Personal development and career
Sample & Findings:

preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected.

All, two (2) students participated.
Discipline specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected.

All, one (1) student participated.

All, seventeen (17) students participated.
Discipline specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected.

All, three (3) students participated.
Discipline Specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected.

Sample & Findings:

All, five (5) students participated.
Discipline specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: BETTER than expected.
Higher order thinking skills: AS well as expected.

All, eleven (11) students participated; Discipline specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected.

All, one (1) students participated.
Discipline specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: AS as well as expected.
Higher order thinking skills: AS well as expected.

All, three (3) students participated.
Discipline Specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as
Sample & Findings:

expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected. Actions Taken:

The committee chose to attempt to reschedule the students for JAN 2003.

The committee provisionally accepted the student as follows:1) Maintain a minimum Grade Point Average of 2.0. 2)Present a Portfolio Review at the conclusion of each semester. 3) Maintain participation in the production program of Theatre IU South Bend, as approved by the Area Coordinator of Theatre. 4) Reviews will be scheduled at the conclusion of each semester to facilitate progress

The candidate was allowed to continue in the degree program.

None

One student arrived late and committee rescheduled the hearing for April 2003. The other student was accepted into Actions Taken:

the Bachelor of Arts degree
program.

The committee granted graduation to all of the candidates.

The committee viewed and accepted the Senior Recital as fulfilling the requirements of the Capstone experience.

The committee suggested goal setting for each student.

Two (2) of these students auditioned/interviewed for consideration for the BFA in Theatre degree program. One (1) was accepted and one (1) was not. The third student proposed switching from a concentration in performance to a concentration in design/technical. The committee accepted the proposal.
All, five (5) students were
Actions Taken:

accepted into the B.A. in Theatre degree program. One (1) into the new concentration in Theatre Studies. One was acceptable provisionally as follows: 1)Continue to Maintain strong academic progress. 2) Gain further production experience in co-curricular activities to facilitate understanding and appreciation of theatre in production. 3) Provide positive leadership for fellow students. 4) Maintain participation in the production program of Theatre IU South Bend, as cast or approved by the Area Coordinator of Theatre.

The committee awarded five (5) scholarships, including the Broadway Theatre League Scholarship to an incoming freshman. Six (6) applicants were not awarded scholarships.

The committee viewed and accepted the Senior Recital as fulfillment of the requirements of the Capstone experience.

The committee granted graduation to all of the candidates.

Actions Taken:

Assessment Activities, 2003-2004

Date:

AUG 2003

DEC 2003

Date:

DEC 2003
Continued.

Date:

DEC 2003
continued.

JAN 2004

April 2004

Date:

APR 2004
continued.

Date:

APR 2004
Continued. Assessment Activity:

Performance Reviews:

Fall 2003 Auditions

End of Freshman Year

End of Semester

Mid-Course

Assessment Activity:

Mid-Course

BFA

Assessment Activity:

Exit

Capstone

Spring 2004 Auditions

End of Freshman Year

Scholarship

Assessment Activity:

BFA

End of Semester

Mid-Course

Capstone

Assessment Activity:

Capstone

Exit
Sample & Findings:

All, 52 students auditioned for acting roles in the co-curricular production season; Discipline Specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: NOT as well as expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected.

All, 2 students participated; Discipline Specific knowledge and skills: AS well as expected.
Personal development and career preparation: NOT as well as expected.
Basic academic success skills: AS well as expected.
Academic values: NOT as well as expected.
Higher order thinking skills: AS well as expected.

All, 1 student participated; Discipline Specific knowledge and skills: AS well as expected.
Personal development and career preparation: NOT as well as expected.
Basic academic success skills: AS well as expected.
Academic values: NOT as well as expected.
Higher order thinking skills: AS well as expected.

All, 2 student participated; Discipline Specific knowledge and skills: AS well as expected.
Personal development and career
preparation: NOT as well as expected.
Basic academic success skills: AS well as
Sample & Findings:

expected.
Academic values: NOT as well as expected.
Higher order thinking skills: AS well as expected.

All, 1 student participated; Discipline specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: BETTER than as expected.
Higher order thinking skills: AS well as expected.

Sample & Findings:

All, 1 student participated; Discipline specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected.

All, 2 students participated.
Discipline specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: AS as well as expected.
Higher order thinking skills: AS well as expected.

All, 40 students auditioned for acting roles in the co-curricular production season; Discipline Specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected.

All, 5 students participated.
Discipline specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected.

All, 7 students participated.

Sample & Findings:

Discipline specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected.

All, 2 student participated.
Discipline specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected.

All, 2 student participated.
Discipline specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected.

All, 2 students participated.
Discipline specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: AS well as expected.
Higher order thinking skills: BETTER than expected.

All, 2 students participated.
Discipline specific knowledge and skills:
AS well as expected.
Personal development and career
Sample & Findings:

preparation: AS well as expected.

Basic academic success skills: AS well as expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected.

All, 5 students participated.
Discipline specific knowledge and skills:
AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected. Actions Taken:

Two productions were cast: Fuddy Meers by David Lindsay-Abaire, 4 men and 3 women and The Rainmaker by N. Richard Nash, 5 men and 1 women.

Academic goals were established for one (1) of the students. These goals included specific academic performance standards and consistent academic performance in course-work.

Based on poor academic, co-curricular and career development preparation this student is formally reviewed at the conclusion of each semester. This process has begun to bear fruit.

One (1) student was accepted into the Bachelor of Arts in Theatre with a concentration in Performance with provisions.
The provisions: 1) Gain awareness, experience, and
Actions Taken:

appreciation for all the elements of theatrical production. Accept all production assignments approved by the Area Coordinator of Theatre; 2) Continue to develop a positive attitude within the Theatre Company and conduct yourself as a leader amongst your fellow students; 3) Refine the presentation of resume; 4) Raise Grade Point Average. To enhance stated goal of gaining opportunities for further study in theatre.
One (1) student to be reheard in Spring 2004 if the following provisions are met: 1) Continue to maintain strong academic progress; 2) Do not miss the Spring 2004 Auditions on January 13 and 14, 2004; 3) Enroll in T228, Design for the Theatre; T349, Theatre Practicum (one credit), and T335, Stage Lighting; 4) Focus on the study of Theatre at Indiana University South Bend;
5) Maintain participation in the production program of Theatre IU South Bend, as cast, or as approved by the Area Coordinator of Theatre.

The student was accepted to continue in the Bachelor of Fine Arts with a concentration in performance degree program.

Actions Taken:

The committee granted graduation to the candidate.

The students presented Senior Performance Recitals. The committee accepted the Senior Recital as fulfilling the requirements of the Capstone experience.

Two productions were cast: The Little Prince by David Lindsay-Abaire, 2 men and 2 women and Playhouse Creatures by April de Angelis, 5 women.

All students were accepted in the Bachelor of Arts in Theatre degree program. One (1) student auditioned for entry into the Bachelor of Fine Arts in Theatre with a concentration in performance.

Five (5) scholarships were
awarded.
Actions Taken:

None. The candidate that auditioned for BFA from the End of Freshman Year Review group was accepted into the BFA degree program.

None.

One of these students was a re-hear from Dec 2003. The committee made new provisions for a re-hearing in 2004-05.

The committee accepted the Senior Recital as fulfilling the
requirements of the Capstone experience.
Actions Taken:

The committee interviewed all candidates for graduation. All candidates were acceptable.

Assessment Activities, 2004-2005

Date:

AUG 2004

DEC 2004

Date:

DEC 2004, continued.

Date:

DEC 2004, continued

Date:

DEC 2004, continued

JAN 2005
Assessment Activity:

Performance Reviews:
Fall 2004 Auditions

End of Freshman Year

Assessment Activity:

End of Freshman Year

End of Semester

Assessment Activity:

End of Year

Mid-Course

BFA Review

Assessment Activity:

BFA

Scholarship

Spring 2005 Auditions
Sample & Findings:

All, forty (40) students auditioned for acting roles in the co-curricular production season; Discipline Specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: NOT as well as expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected.

All, five (5) students participated; Discipline Specific knowledge and skills: AS well as expected.
Personal development and career preparation: NOT as well as expected.
Basic academic success skills: AS well as expected.
Academic values: NOT as well as expected.
Higher order thinking skills: AS well as expected.

Sample & Findings:

All, three (3) students participated; Discipline Specific knowledge and skills: NOT as well as expected.
Personal development and career preparation: NOT as well as expected.
Basic academic success skills: AS well as expected.
Academic values: NOT as well as expected.
Higher order thinking skills: NOT well as expected.

Sample & Findings:

All, two (2) students participated; Discipline Specific knowledge and skills: AS well as expected.
Personal development and career
preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: NOT as well as expected.
Higher order thinking skills: AS well as expected.

All, two (2) students participated; Discipline Specific knowledge and skills: AS well as expected.
Personal development and career
preparation: AS well as expected.
Basic academic success skills: AS well as Sample & Findings:

expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as
expected.

All, seven (7) students participated; Discipline specific knowledge and skills: AS well as expected.
Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: BETTER than as expected.
Higher order thinking skills: AS well as expected.

All, thirty-three (33) students auditioned for acting roles in the co-curricular production season; Discipline Specific knowledge and skills: AS well as expected. Personal development and career preparation: AS well as expected.
Basic academic success skills: AS well as expected.
Academic values: AS well as expected.
Higher order thinking skills: AS well as expected. Actions Taken:

Two productions were cast: Five Women Wearing The Same Dress by Alan Ball, 5 women and 1 man and The Birthday Party by Harold Pinter, 4 men and 2 women.

Students were asked to assess their progress. Faculty offered their own assessment of the progress of each student Academic and co-curricular goals were mutually established between the students and the faculty.
In one case the student was urged to consider a different concentration, moving from performance to design/technical. The student accepted this suggestion.
In one case the student had finally participated in the Review after three tries. The student offered that their progress had been inconsistent because of limited commitment to the program; inconsistent academic progress, and inconsistent involvement in co-curricular production activities. The faculty concurred. The faculty also positively noted the students decision to attend the Review. Together, the student and the faculty developed
guidelines to facilitate effective
Actions Taken:

progress. This guidelines included maintaining consistent

attendance, maintaining consistent progress, weekly meetings with the Area Coordinator of Theatre and Dance to gauge academic progress and performance and effective attendance at all courses.

One (1) student, based on poor academic, co-curricular and career development preparation is reviewed at the conclusion of each semester. This process has begun to bear fruit with improved academic and co-curricular performance.
One (1) student was reviewed because of the inability to successfully fulfill co-curricular production responsibilities per a Theatre Practicum assignment; lateness, absence, a pattern of inconsistency. After discussion with the student the faculty chose to provide the student with another production assignment and specified that the responsibility be carried out with a spirit of cooperation and teamwork.
One (1) student was reviewed because of the inability to participate in Area activities with a positive pattern of conduct. Academic progress was also an issue. Advising was also another issue: the student had made a pattern of haphazard enrollment contrary to the advising strategy derived from interaction with a faculty advisor. This student declared to the faculty that they were Actions Taken:

leaving the program and school
to pursue private activities. The
faculty urged the student to
consider how close they were to

graduation and reconsider the decision. The faculty also voiced concern that the stated future activities might place the student at financial risk. The student thanked the faculty for working with them over their time at IU South Bend.

One (1) student was accepted into the Bachelor of Arts in Theatre with a concentration in Performance. Audition preparation and presentation was effective.
One (1) student was a BFA candidate. This student had a poor academic semester. The provisions: 1) Gain awareness, experience, and appreciation for all the elements of theatrical production. Accept all production assignments approved by the Area Coordinator of Theatre; 2) Continue to develop a positive attitude within the Theatre Company and conduct yourself as a leader amongst your fellow students; 3) Refine the presentation of resume; 4) Raise Grade Point Average. To enhance stated goal of gaining opportunities for further study in theatre.

See above section for discussion of one (1) of the BFA candidates. Both (2) of the BFA candidates were found to be making satisfactory progress.

Actions Taken:

Five (5) scholarships were awarded; two (2) were denied.
Three (3) of the award winners were Performance students that presented effective auditions and effective interviews; Two (2) were design technical students that made effective portfolio presentations and effective interviews.
One (1) student was denied scholarship based on ineffective presentation of the audition. The faculty recommended a change of concentration for the student; the student agreed. One (1) was denied scholarship based on academic progress.

Two productions were cast: Just So Stories by Rudyard Kipling, 5 women, 2 men and Not A Trust: The Story of Ball Band and It's People, 6 women, 5 men.

Assessing Student Outcomes - 2002-03

Program name: Theatre, School of the Arts
Report prepared by: J. Randall Colborn
Who is the current Assessment contact for your department?: J. Randall Colborn
Should assessment information be sent to anyone else in your department?: No.

1. What Assessment Techniques did your department use in the last academic year? e.g. pre and post testing, portfolios, juried performances, etc.
End of Freshman Year
Mid-Course
Capstone
Exit
BFA Reviews, each semester
Scholarship Auditions, annually

Audition presentation and interviews.
Portfolio presentation and interviews.
Interviews.

2. How did these techniques help the department measure student learning and achievement in the five educational objectives outlined in the Higher Learning Commission (NCA) Assessment plan? Please be explicit about how the data collected objectively measures student outcomes. How does the data measure whether students understand the important concepts of a discipline?
3.
a. Discipline specific knowledge and skills: Learn terms, facts, concepts and theories of subject. Develop skills in using materials, tools, and/or technology central to this subject. Prepare for graduate study.

With the exception of freshman, all students participating in reviews prepare and present, as appropriate to their concentration, an audition (performance concentration) or a portfolio (design/technology concentration). Additionally, all students participate in an interview with the theatre faculty. For freshman that interview occurs during the End of Freshman Year Review. For scholarship or Bachelor of Fine Arts degree programs considerations all students must audition or present a portfolio and interview.

In the presentation of the audition or portfolio the student provides insight to their process and progress over the year. During the interview portion of the review the student is asked to discuss the processes utilized in making the decisions evident in their appropriate presentation. The student is also asked to discuss their progress and accomplishments over the semester or since their last review. At this time the committee also asks the student to provide insight to their strengths and weaknesses as students in general and as students of theatre. The committee reviews the students academic progress and discusses strategies for future development and consideration. Finally, students are asked to discuss issues or curriculum that they find challenging or problematic in other ways. These discussions have helped the theatre faculty address issues of pedagogy and curriculum development.

One of the most useful outcomes of the review process is the opportunity for the Theatre Area faculty to gain clarity regarding the progress of each student within the program. As an example, performance students often underestimate the importance of various design/technology courses in theatre. Generally, performance students think they should take only performance courses. However, the design/technology courses comprise an important part of their concentration. The Bachelor of Arts degree programs are aimed at providing students with a fundamental understanding of, and experience with, the ways and means of theatre practice and theory. That philosophy of training is the strength of Theatre IU South Bend's curriculum. For the student this underestimation of the import of the courses outside their concentration is usually evoked through poor participation and poor execution of the work required for the classes. The review processes provide the theatre faculty and the student with the opportunity to again discuss the uniqueness and strength of theatre study at IU South Bend and the emphasis on providing students with an understanding of, and hands-on experience with, the ways and means of theatre. The thesis: the best theatre practioner understands and appreciates all aspects of theatre practice.

b. Personal development and career preparation: Develop a capacity to think for one's self, be responsible for one's behavior, and to make wise decisions. Develop ability to work productively with others. Develop leadership skills.

Performance students must audition for consideration for the co-curricular production program. Audition preparations begin with a careful reading of the plays being produced. The student then selects and prepares an audition which provides insights to their understanding and ability to deal with the challenges found in those plays. This is also true for Mid-Course, Scholarship and for application to the BFA degree program. As in all review situations each student is evaluated, and provided the evaluation, on the preparation and presentation of their audition. Design/technology students must prepare and maintain a portfolio which houses their collective development and understanding of theatre and their development as theatre students. Again, these presentations are evaluated by the theatre area faculty and the student is provided those evaluations. For design opportunities in the co-curricular production program, the review process is most often utilized as the process to determine student capability in assuming those responsibilities. While freshman students in the performance concentration often perform in the co-curricular production program, design/technology students rarely design until after the Mid-Course hearing.

The preparation and presentation of auditions and portfolios is requisite in the theatre. Our use of this process and its positive impact on students is most effectively articulated by the trend that our students consistently audition/interview successfully for professional opportunities outside IU South Bend. We have seen consistent growth in students auditioning/interviewing and gaining those opportunities. That trend has continued to increase over the past five years. In 2002-03, of a total of ten (10) students that auditioned/interviewed for theatre employment opportunities, eight (8) students gained employment. It is important to emphasize that these are jobs in their field of study: Theatre.

c. Basic academic success skills: Improve writing, speaking, reading, math, computer, and listening skills; develop study and presentation skills.

Degree requirements specify minimum levels of experience with all of the Basic Academic Success Skills. For writing, W131, Elementary Composition is required. The second level writing requirement is satisfied by T470 and T470, Theatre History I and Theatre History II. Unless specified by placement testing results, reading is addressed initially in the theatre degree programs by one of the "freshman core" course for theatre majors, T150, Play Structure and Analysis. T150 introduces beginning students to the ways and means of reading dramatic literature by focusing on the major categories or forms of that literature. For those with limited experience reading dramatic literature it presents challenges. Even the most effective reader can be challenged by dramatic literature because it is generally distinct from other forms of literature. And because of the uniqueness of the demands of reading dramatic literature student reading skills are facilitated. In the senior year T150 is complimented by T483, Topics in Theatre. As part of each theatre majors Capstone Experience T483 entails more readings and discussions of dramatic literature that is primarily contemporary.

Math skills are left almost exclusively to the minimum requirement of successful completion of M110, Excursions in Mathematics. However, some of the concentrations in the theatre degree programs demand understanding and experience dealing with more complex mathematical formulas and those are dealt with in those classes.

Computer skills are also left almost exclusively to the minimum requirement of A106, Introduction to Computing. However, most of the concentrations in theatre demand continuing utilization and development of those skills as the student matriculates.

Listening skills are facilitated throughout the curriculum. But, the "freshman core" for theatre majors, including T150, Play Structure and Analysis, T225, Stagecraft I, T228, Design for the Theatre, and T230, Stage Costuming are aimed at facilitating that skill. Also, in advising for freshman, the theatre faculty guide students to courses such as W131, Elementary Composition, S121, Public Speaking, P100, Introduction to Philosophy to further facilitate those skills. These courses help provide a solid foundation for future semesters at IU South Bend. Experience has shown that students that do not follow the plan of study usually have more difficulty as they matriculate towards graduation.

The theatre "freshman core" and the other courses described above as degree requirements to be taken in the freshman year help the student develop study and presentation skills. The review process utilized by the theatre area also facilitates the development of these basic academic success skills.

Advising is an important component of all this. The theatre area's advising process is aimed at helping students develop these skills. And because we advise students so carefully, we see the effect on students when they either cannot or choose not to follow the prescribed matriculation. Theatre Advisors provide guidance and careful advising to ensure the student enrollment in courses at the appropriate points in the students progress to facilitate their progress. As appropriate, all theatre faculty dealing with freshman level courses council students to take advantage of the Writing Center.

d. Academic values: Develop openness to ideas, a concern for social issues, an informed historical perspective, an understanding of the role of science and technology, and an appreciation of other cultures. Develop the ability to make ethical choices.

The theatre degree programs require the following, except as noted for the Bachelor of Fine Arts degree programs: 21 credit hours in the humanities (H113, Western Culture I and H114, Western Culture II, P100, Introduction to Philosophy, Art History, a course in music and an Arts course not in theatre are required) 11 credit hours in math and science (a minimum of successful completion of M110, Excursions in Mathematics and one course in science with a lab are required), 6 hours in foreign language (two semesters of the same language is required; not required in the BFA degree programs), 6 hours in the social sciences (C200, Introduction to Mass Communication is required), 6 hours in Communication (W131, Elementary Composition and S121, Public Speaking are required), 3 credits in Computing and 6 credits in World Culture as satisfied with T470, Theatre History I and T471, Theatre History II. Also, all of the theatre degree programs require the completion of a minimum of 30 credit hours at or above the 300 level. Additionally, each semester all theatre majors must participate in some capacity in the co-curricular production program.

The interrelationship of these degree requirements make the theatre degree very strong and challenging. In the theatre major the co-curricular production program provides further opportunity for the student to encounter situations which foster the development of openness to new ideas, even if they are rather old ideas. As the student matriculates they will encounter historical conventions and practices that are challenging. Social issues are confronted in virtually all dramatic literature, and contemporary dramatic literature provides opportunities for framing informed understanding of differing perspectives on current topics. The issues of ethics are often encountered thematically in dramatic literature, but the student of theatre also gains rich experience dealing with ethics in auditions, rehearsals and performance. Issues arise in those situations for which the student cannot be fully prepared. Teamwork is at the heart of theatre and the teamwork necessary in theatre demands the development of ethical thinking that will facilitate the individual students successful participation within the team. If the participant is not open to new ideas the experience of working on a play with a team of individuals will have a significant impact on that rigidity. The student encounters issues in real time and those issues demand resolution.

e. Higher order thinking skills: Develop analytical and problem-solving skills, the ability to think creatively, to synthesize and integrate, to think holistically, and to recognize fact from fiction.

Those skills are at the heart of the discipline of theatre. While all theatre students gain insight and experience with these issues, the student that is most successful with those skills gains the greatest number of opportunities to further utilize and develop the skills of their chosen concentration.

3. How were the results of your assessment program analyzed and recorded?
a. How was department faculty involved?

The theatre faculty participate in all student reviews. In all cases of audition and/or portfolio presentation each faculty member records their individual assessment of each presentation. Those evaluations are then compiled and the outcomes of those evaluations are then discussed with each student within a week of the review. Students are also sent a written response to their review presentation and interview.

b. How were students involved?

Students are provided the opportunity to discuss their progress and the areas in which they feel they need to gain more experience. Students play a significant role in the review of pedagogical techniques and curriculum enhancement and development.

c. How were records kept?

On video tape and in the collection of evaluation forms from the faculty.

4. The Higher Learning Commission (NCA) report pointed out the obvious but important concept that Assessment cannot be static. The report stated that in order to achieve excellence, assessment must be viewed with a constancy of purpose requiring never ending activity and revision.

-Were any changes made this year in the assessment plan or the assessment techniques used by your department?

Each students was asked to record the major outcomes of the audition/portfolio response and the outcomes of the review. A priority list was generated from this effort to facilitate each students progress.

-How does your assessment plan tie into your department's strategic planning? -How were these decisions made?

The final student reviews for each academic year coincides with the conclusion of the academic year. At this time the faculty is discussing the co-curricular production season for the next academic year. This discussion is framed in relation to student accomplishment and the need for student production projects that will facilitate their matriculation. Through the review processes the theatre faculty is able to assess the abilities of students in relation to the various responsibilities demanded within a group of productions. We are able to discern whether we have students that are capable of designing sets, lights, costumes, etc., as well meeting the demands of performing types of dramatic literature. While long term planning of the co-curricular production seasons provides an out-line of potential productions which fulfill the theatre area's mission and the needs of the students guides the final configuration of productions while maintaining our mission.

In terms of curriculum, the review processes facilitate the scheduling of classes and the enhancement and development of curriculum. However, it should be noted that the co-curricular production program season and the curriculum are not strictly dictated by student progress and outcomes. The discipline of theatre plays a significant role in the process as well. There are forms of dramatic literature that must be dealt with in the co-curricular production program. A careful balance between student accomplishment and the demands of the dramatic literature produced is demanded.

5. The Higher Learning Commission (NCA) evaluation emphasized that assessment must be used to improve academic operations and to achieve measurable improvements in student learning outcomes. Assessment activities need to be focused on learner outcomes and the application, or use, of assessment results for curriculum planning, resource allocation and program modification.

-Were any changes made to your program as a result of assessing your students?

Yes. The Theatre Area has designed a new concentration in theatre, the Bachelor of Arts in Theatre, with a concentration in Theatre Studies.

-Do you anticipate making any program changes in the future as a result of your assessment activities?

No.

-What is the rationale for these changes?

-How are your assessment results tied to your budget or budget requests?

In the past, curriculum development and enhancement has been directly related to assessment outcomes. The trend continues and it is expected to continue. As curriculum is developed and/or enhanced the need for classroom equipment and spaces also increases. Theatre acquired a Design Studio in 1999. The Design Studio marks a major improvement for the Theatre Area. However, the Design Studio is in need of enhancement. Our co-curricular production program also places extensive pressure on the Acting Studio, NS 118. Eventually a separate space will be required for the acting and directing classes. When NS 118 is being utilized as a performance/production space for the co-curricular program it compromises the effectiveness of the space for the courses occurring in the same space.

Assessing Student Outcomes - 2003-04

Please respond to the following questions and send a paper or electronic version to Assessment c/o Rhonda Culbertson, A246A or rculbert@IU South Bend.edu by May 30, 2004.

Program name:
Report prepared by: J. Randall Colborn
Who is the current Assessment contact for your department? J. Randall Colborn
Should assessment information be sent to anyone else in your department? No

4. What specific educational goals does your program have for its students?

From the Theatre and Dance Area Mission Statement:

The Theatre Area of the Ernestine M. Raclin School of the Arts exists to offer undergraduate students the educational experiences and environments that promote the complete development of each artist/scholar. We value theatre as a rich, exciting and demanding collaborative art, seeking to achieve artistic excellence in studio and production work. We pursue these goals in a liberal arts setting and prepare students for a lifetime of continuous learning, which may include further specialization at the graduate level, application in other disciplines or entry into the professional world.

Our Bachelor of Fine Arts (B.F.A.) degree programs are a unique program of specialized study within a liberal arts context. The curriculum provides a greater depth of training in the more specialized areas of acting or design. Our Bachelor of Arts (B.A.) degree programs are a comprehensive theatrical degree designed to incorporate specific disciplines in a broader educational context.

Specific Learning Objectives:

Goals 1
Students will be able to comprehend and articulate in both oral and written forms the history, theories, and factual information concerning their area of concentration. They should be well-informed and have a global view of their field while analyzing, comparing, and contrasting the similarities of many cultures and historical periods.

Goals 2
Students will be able to comprehend and practice the learned knowledge and skills needed to succeed in their areas of concentration.

Goals 3
Students will be able to demonstrate through some form of performance or presentation that they have mastered the learned skills.

Goals 4
Students will emerge as curious, objective, critical thinkers with the necessary skills to succeed in an audition and/or professional interview situation.

5. What assessment techniques did your program use to measure the attainment of these goals in the last academic year? (e.g. pre and post testing, portfolios, juried performances, etc.)

End of Freshman Year
Mid-Course
Capstone
Exit
BFA Reviews, each semester
Scholarship Auditions, each semester

Audition presentation and interviews.
Portfolio presentation and interviews.
Interviews.

What were the results of these assessment measures?

Please see: Assessment Activities, 2003-04.

6. How did these techniques help the department measure student learning and achievement? Please be explicit about how data collected objectively measure student outcomes. How does the data measure whether students understand the important concepts of a discipline?

With the exception of freshman, all students participating in reviews prepare and present, as appropriate to their concentration, an audition (performance concentration) or a portfolio (design/technology concentration). All performance students present an audition at the beginning of each semester for casting consideration in the co-curricular production season. All students participate in an interview with the theatre faculty. For freshman that interview occurs during the End of Freshman Year Review. For scholarship or Bachelor of Fine Arts degree programs considerations all students must audition or present a portfolio and interview at the conclusion of each semester.

In the presentation of the audition or portfolio the student provides insight to their process and progress over the year. During the interview portion of the review the student is asked to discuss the processes utilized in making the decisions evident in their appropriate presentation. The student is also asked to discuss their progress and accomplishments over the semester or since their last review. At this time, the committee also asks the student to provide insight to their perceived strengths and weaknesses as students in general and as students of theatre. The committee reviews the students' academic progress and discusses strategies for future development and consideration. Finally, students are asked to discuss issues or curriculum that they find challenging or problematic in other ways. These discussions have helped the theatre and dance area faculty address issues of pedagogy and curriculum development.

One of the most useful outcomes of the review process is the opportunity for the Theatre and Dance Area faculty to gain clarity regarding the progress of each student within the program. As an example, it remains the best one, performance students typically underestimate the importance of various design/technology courses in theatre. Generally, performance students state that they should be required to take only performance courses, rather than an the immersive objectives of our course of study. On this critical issue rests the chief source of student dissatisfaction. The faculty are fully aware of it given the review processes in which we are fully invested. However, it is the essence, the foundation of our program. While we are aware, hypothetically, that we could attract more students if we had a performance concentration that avoided the theatre core of classes as it is presently constituted. However, we would not have more effective theatre student artists. And we would not be preparing our students for the demands of their career beyond IU South Bend. The design/technology courses comprise an important part of their concentration. The Bachelor of Arts degree programs are aimed at providing students with a fundamental understanding of, and experience with, the ways and means of theatre practice and theory. That is also true of the Bachelor of Fine Arts degree programs. However, the more extensive number of credits earned in the B.F.A. concentrations provide the student with more experience in their area of concentration. This philosophy of training is the strength of Theatre IU South Bend's curriculum. For the student the lack of appreciation for the import of the major courses outside their concentration is usually evoked through poor participation and poor execution of the work required for those classes. However, it is also evident in the course work of their concentration and in their contributions to the co-curricular production program. In those cases, that concentration course work and co-curricular production work generally lack the depth of commitment and understanding demanded by the concentration and the discipline of theatre.

The review processes provide the theatre faculty and the student with the opportunity to again discuss the uniqueness and strength of theatre study at IU South Bend and the emphasis on providing students with an understanding of, and hands-on experience with, the ways and means of theatre. The thesis: the best, most effective, and the most employable theatre practioner has experienced, understands, and appreciates as many aspects of theatre practice as possible.

7. For which goals did your students learn at or beyond your expectations? Which areas need improvement?

Discipline specific knowledge and skills at Threshold continue to be the area in need of greatest improvement. Generally, beginning students have a limited understand of the level of involvement required for co-curricular production participation. The general source of this limited understanding is the relative dearth of high school programs producing theatre. This is exacerbated by a few area high school programs that produce productions but are too specialized because of the large size of these few programs: students tend to only know one aspect of the theatre to the exclusion of the bigger picture. We are endeavoring

Our 2004 graduates were a strong group. Collectively, these students achieved at or beyond expectations. We also welcomed a generally strong group of new students that performed at, or beyond, expectations. The group of students which comprise the middle of our student body, either just prior, or post, mid-course review are generally performing at, or below, expectations. This general lack of leadership from this core group of students is being addressed by additional mentoring in all areas of the program.

8. How were the results of your assessment program analyzed and recorded?
d. How was department faculty involved?

The theatre faculty participate in all student reviews. In all cases of audition and/or portfolio presentation each faculty member records their individual assessment of each presentation. Those evaluations are then compiled and the outcomes of those evaluations are then discussed with each student within a week of the review. Students are also sent a written response to their review presentation and interview.

e. How were students involved?

Students are provided the opportunity to discuss their progress and the areas in which they feel they need to gain more experience. Students play a significant role in the review of pedagogical techniques and curriculum enhancement and development.

f. How were records kept?

On video tape and in the collection of evaluation forms from the faculty.
All full-time faculty participate in the review process. Auditions and portfolio presentations are assessed by the faculty. Mentorship of student audition or portfolio presentation are provided by the faculty from the appropriate concentration discipline.

9. The Higher Learning Commission points out the obvious but important concept that Assessment cannot be static. In order to achieve excellence, assessment must be viewed with a constancy of purpose requiring never ending activity and revision.
-Were any changes made this year in the assessment plan or the assessment techniques used by your department?
The Theatre and Dance Area faculty decided that scholarship applicants would be reviewed at the conclusion of each semester.

The Theatre and Dance Area has identified threshold learning as a priority. Given changes in the personnel of the faculty of the area the identification and fostering of student leadership in the major has been weakened. In addition to the university orientation process, including theatre and dance advising, the faculty have decided to institute an additional orientation specific to theatre on the first day of classes for all majors. The aim of this activity is to foster student understanding of the opportunities and responsibilities of their selected major. It is also an opportunity for the students to be introduced to the entire faculty of the area and to encourage communication between student and faculty.

-How does your assessment plan tie into your department's strategic planning? -How were these decisions made?

We have prioritized entry level courses for the next year and a half. Entry level students are needed to balance and enhance all concentrations of the Area.

For Fall 2004, we are also a Welcome Reception for new and returning students. The aim is enhance the orientation activities of IU South Bend with more specific to the discipline of theatre.

10. The Higher Learning Commission emphasizes that assessment must be used to improve academic operations and to achieve measurable improvements in student learning outcomes.
-Were any changes made to your curriculum as a result of assessing your students?

The final student reviews for each academic year coincides with the conclusion of the academic year. At this time the faculty is also discussing the co-curricular production season for the next academic year. This discussion is framed in relation to student accomplishment and the need for student production projects that will facilitate their matriculation. Through the review processes the theatre faculty is able to assess the abilities of students in relation to the various responsibilities demanded within a group of productions. We are able to discern whether we have students that are capable of designing sets, lights, costumes, etc., as well meeting the demands of performing types of dramatic literature. While long term planning of the co-curricular production seasons provides an outline of potential productions which fulfill the theatre area's mission and the needs of the students guides the final configuration of productions while maintaining our mission.

In terms of curriculum, the review processes facilitate the scheduling of classes and the enhancement and development of curriculum. However, it should be noted that the co-curricular production program season and the curriculum are not strictly dictated by student progress and outcomes. The discipline of theatre plays a significant role in the process as well. There are forms of dramatic literature that must be dealt with in the co-curricular production program. A careful balance between student accomplishment and the demands of the dramatic literature produced is demanded.

-Do you anticipate making any program changes in the future as a result of your assessment activities?
-What is the rationale for these changes?

We have a single student matriculating in the Bachelor of Arts in Theatre Studies. While it is anticipated that this new concentration will be of great benefit to the students and the Theatre and Dance Area it is difficult to project how beneficial the new concentration will be. Selection for the concentrations is based on Mid-Course Reviews.

At present the BFA degree programs are underutilized. The need is to identify more possible candidates from within the body of students matriculating in Bachelor programs and encourage auditions and interviews for consideration

Theatre and Dance were joined in late fall 2003. The revision of the dance curriculum is a top priority. The plan is to conclude the creation of the new curriculum in fall 2004. This change holds great promise for the new Theatre and Dance Area.

-How are your assessment results tied to your budget or budget requests?

Curriculum development and enhancement has been directly related to assessment outcomes. The trend continues and it is expected to continue. As curriculum is developed and/or enhanced the need for classroom equipment and spaces also increases. Theatre acquired a Design Studio in 1999. The Design Studio marks a major improvement for the Theatre Area. However, the Design Studio is in need of enhancement. Our co-curricular production program also places extensive pressure on the Acting Studio, NS 118. Eventually a separate space will be required for the acting and directing classes. When NS 118 is being utilized as a performance/production space for the co-curricular program it compromises the effectiveness of the space for the courses occurring in the same space.

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