Dan Hurlin

BA, Sarah Lawrence College. Performances in New York at Dance Theater Workshop, PS 122, La MaMa E.T.C., Danspace, The Kitchen, St. Ann’s Warehouse, and at alternative presenters throughout the United States and the United Kingdom. Recipient of a Village Voice OBIE Award in 1990 for solo adaptation of Nathanael West’s A Cool Million and the 2000 New York Dance and Performance (“Bessie”) Award for Everyday Uses for Sight, Nos. 3 & 7. Recipient of fellowships from the National Endowment for the Arts, the New Hampshire State Council on the Arts, and a 2002-2003 Guggenheim fellowship and of grants from Creative Capital, the Rockefeller Foundation, the New York State Council on the Arts, the Mary Cary Flagler Charitable Trust, and the New England Foundation for the Arts. Recipient of the Alpert Award in the Arts for Theatre, 2004. Former teacher at Bowdoin, Bennington, Barnard, and Princeton. SLC, 1997–

Current undergraduate courses

Composition

Movement is the birthright of every human being. These components explore movement’s expressive and communicative possibilities by introducing different strategies for making dances. Problems posed run the gamut from conceptually-driven dance/theatre to structured movement improvisations. The approaches vary depending on the faculty. Learn to mold kinetic vocabularies of your own choice and incorporate sound, objects, visual elements, and text to contextualize and identify your vision. Students will be asked to create and perform studies, direct one another, and share and discuss ideas and solutions with peers. Students are not required to make finished products but to involve themselves in the joy of creation.

Faculty

Grad Lab

Year

Taught by a rotating series of Sarah Lawrence faculty and guest artists, this course focuses on developing the skills needed for a wide variety of techniques for the creation and development of new work in theatre. Ensemble acting, movement, design and fabrication, playwriting, devised work, and music performance are all explored. The class is a forum for workshops, master classes, and open rehearsals, with a focus on the development of critical skills. In addition, students in Grad Lab are expected to generate a new piece of theatre to be performed each month for the Sarah Lawrence community. These performances may include graduate and undergraduate students alike.

Faculty

Puppet Theatre

Year

This course will explore a variety of puppetry techniques, including bunraku-style, marionette, shadow puppetry, and toy theatre. We will begin with a detailed look at these forms through individual and group research projects. We will further our exploration with hands-on learning in various techniques of construction. Students will then have the opportunity to develop their own manipulation skills, as well as to gain an understanding of how to prepare the puppeteer’s body for performance. The class will culminate with the creation and presentation of puppetry pieces of their own making.

Faculty

Thesis Project

Year

This course will provide a critical and supportive forum for the development of new works of original theatre with a focus on conducting research in a variety of ways, including historical and artistic research, workshops, improvisations, experiments, and conversation. Each student will focus on creating one original project—typically, but not limited to, a solo—over the course of the full year. During the class, students will show works in progress. During conference, students and faculty will meet to discuss these showings and any relevant artistic and practical problems that may arise.

Faculty

Current graduate courses

Composition

Year

Movement is the birthright of every human being. These components explore movement’s expressive and communicative possibilities by introducing different strategies for making dances. Problem posed run the gamut from conceptually driven dance/theatre to structured movement improvisations. These approaches vary depending on the faculty. Learn to mold kinetic vocabularies of your own choice and incorporate sound, objects, visual elements, and text to contextualize and identify your vision. Students will be asked to create and perform studies, direct one another, and share and discuss ideas and solutions with peers. Students are not required to make finished products but toinvolve themselves in the joy of creative.

Faculty

Grad Lab

Year

Taught by a rotating series of Sarah Lawrence faculty and guest artists, this course focuses on developing the skills needed for a wide variety of techniques for the creation and development of new work in theatre. Ensemble acting, movement, design and fabrication, playwriting, devised work, and music performance are all explored. The class is a forum for workshops, master classes, and open rehearsals, with a focus on the development of critical skills. In addition, students in Grad Lab are expected to generate a new piece of theatre to be performed each month for the Sarah Lawrence community. These performances may include graduate and undergraduate students alike.

Faculty

Projects: Grad II

Year

This course will provide a critical and supportive forum for the development of new works of original theatre with a focus on conducting research in a variety of ways, including historical and artistic research, workshops, improvisations, experiments, and conversation. Each student will focus on creating one original project—typically, but not limited to, a solo—over the course of the full year. During the class, students will show works in progress. During conference, students and faculty will meet to discuss these showings and any relevant artistic and practical problems that may arise.

Faculty

Puppet Theatre

Year

This course will explore a variety of puppetry techniques, including bunraku-style, marionette, shadow puppetry, and toy theatre. We will begin with a detailed look at these forms through individual and group research projects. We will further our exploration with hands-on learning in various techniques of construction. Students will then have the opportunity to develop their own manipulation skills, as well as to gain an understanding of how to prepare the puppeteer’s body for performance. The class will culminate with the creation and presentation of puppetry pieces of their own making.

Faculty

Thesis Project

Year

This course will provide a critical and supportive forum for the development of new works of original theatre with a focus on conducting research in a variety of ways, including historical and artistic research, workshops, improvisations, experiments, and conversation. Each student will focus on creating one original project—typically, but not limited to, a solo—over the course of the full year. During the class, students will show works in progress. During conference, students and faculty will meet to discuss these showings and any relevant artistic and practical problems that may arise.

Faculty

Previous courses

Dance Making

Year

Individual choreographic projects will be designed and directed by students with special interest and experience in dance composition. Students and faculty will meet weekly to view works-in-progress and to discuss relevant artistic and practical problems. Whenever possible, the music for these projects, whether new or extant, will be performed live in concert. Dance Making students are encouraged to enroll in Lighting Design and Stagecraft for Dance.

Faculty

Directing, Devising, and Performance

Year

This class is a laboratory, where students will explore (on their feet) a range of methodologies, philosophies, and approaches to creating performance and theatre. How do you direct a theatre piece without starting with a play? Alongside a broad survey of artists and art movements of the 20th century that continue to influence theatre artists today, students will practice a variety of ways of staging, with and without text, and always in relation to being a “live event.” Following a trajectory from the Dadaists to Fluxus, from the surrealists to John Cage (and beyond), we will wrangle with these “postdramatic” artists and explore how their ideas can lead us in finding our own unique theatrical voice. Students will be given reading and creative assignments outside of class and will be expected to work collaboratively throughout the term.

Faculty

Directing, Devising, and Performance - Graduate Theatre

Year

This class is a laboratory, where students will explore (on their feet) a range of methodologies, philosophies, and approaches to creating performance and theatre. How do you direct a theatre piece without starting with a play? Alongside a broad survey of artists and art movements of the 20th century that continue to influence theatre artists today, students will practice a variety of ways of staging, with and without text, and always in relation to being a “live event.” Following a trajectory from the Dadaists to Fluxus, from the surrealists to John Cage (and beyond), we will wrangle with these “postdramatic” artists and explore how their ideas can lead us in finding our own unique theatrical voice. Students will be given reading and creative assignments outside of class and will be expected to work collaboratively throughout the term.

Faculty

Projects

Year

This course will provide a critical and supportive forum for the development of new works of original theatre with a focus on conducting research in a variety of ways, including historical and artistic research, workshops, improvisations, experiments, and conversation. Each student will focus on creating one original project—typically, but not limited to, a solo—over the course of the full year. During the class, students will show works in progress. During conference, students and faculty will meet to discuss these showings and any relevant artistic and practical problems that may arise.

Faculty

Puppet Theatre: Bunraku-style

Fall

This course will begin with a detailed look at the traditional Japanese Bunraku puppet theatre, a form that involves texts by some of the most revered Japanese writers and detailed puppets operated by three puppeteers, each in full view of the audience. We will continue to explore Japanese splinter forms (Otome Bunraku, Kuruma Ningyo), as well as contemporary, American adaptations of the style. Students will then have the opportunity to develop their own manipulation skills with three-person puppets and construct and devise their own bunraku-style performance.

Faculty

Puppet Theatre: Bunraku-style - Graduate

Fall

This course will begin with a detailed look at the traditional Japanese Bunraku puppet theatre, a form that involves texts by some of the most revered Japanese writers and detailed puppets operated by three puppeteers, each in full view of the audience. We will continue to explore Japanese splinter forms (Otome Bunraku, Kuruma Ningyo), as well as contemporary, American adaptations of the style. Students will then have the opportunity to develop their own manipulation skills with three-person puppets and construct and devise their own bunraku-style performance.

Faculty

Puppet Theatre: Toy Theatre and Shadow Puppetry

Spring

In this class, students will conduct research on two disparate forms of puppet theatre: one Western; one Eastern. Toy Theatre, originally a juvenile entertainment from Europe, was adapted for adult performance in the late 20th century by such artistic titans as designer Edward Gordon Graig, sculptor Alexander Calder, and playwright Erik Ehn. The Shadow theatre traditions of Asia range from the secular (China) to the spiritual (Indonesia) and infuse modern theatre with a new, almost limitless, vocabulary. After in-depth research into the history of these forms, students will embark on hands-on learning, building fabrication and manipulation skills as they create their own short pieces in these two syles.

Faculty