APPLY FOR FALL 2015

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Artistry. Professionalism. Collaboration. Discovery. Diversity. Community.Yale School of Drama and Yale Repertory Theatre train and advance leaders to raise the standards of global professional practice in every theatrical discipline, creating bold art that astonishes the mind, challenges the heart, and delights the senses.

The application of theory to professional practice is a central tenet of training at the School of Drama, enhanced in scope by the inte-gration of the School with Yale Repertory Theatre in a relationship analogous to that of a medical school and a teaching hospital. More than forty productions are staged at Yale School of Drama, Yale Repertory Theatre, and Yale Cabaret each season.

Yale School of Drama has an unparalleled track record of training out-standing and diverse students from every conceivable background. Together, our students, faculty, staff, and guest artists form a richly collaborative community reflecting the extraordinary breadth of contemporary society, aesthetics, and theatre experience.

Affordability.Yale School of Drama leads the nation in investing the resources necessary to remove the financial barriers to outstanding graduate theatre training. Tuition fees at Yale School of Drama are the lowest of any leading theatre training program in the country, and our need-based financial aid policy minimizes students’ educational debt:

• all students are admitted without regard to their ability to pay;

• 93% of students currently receive financial aid;

• an average student with financial need receives 85% of the total cost of attendance over three years in aid provided by the School of Drama, amounting to the equivalent of 138% of tuition over three years, including living stipends and paid work-study;

• the typical financial aid package is designed to make it possible to graduate with as little as $7,000 in educational loans.

JAMES BUNDY, DEAN

drama.yale.edu

YALE SCHOOL OF DRAMA

JAMES BUNDY, DEAN

VICTORIA NOLAN, DEPUTY DEAN

JOAN CHANNICK, ASSOCIATE DEAN

MARIKO PARKER (‘14) IN THE VISIT BY FRIEDRICH DÜRRENMATT, YALE SCHOOL OF DRAMA, 2013.

WALTON WILSON

RON VAN LIEU

ACTINGFACULTY: Glenn Seven Allen, Christopher Bayes, James Bundy, Ron Carlos, Louis Colaianni, Bill Connington, E. Moncell Durden, Erica Fae, Peter Francis James, Lori Leshner, Joan MacIntosh, Beth McGuire, Paul Mullins, Ellen Novack, Annie Piper, Michael Rossmy, Billy Serow, Rick Sordelet, Anne Tofflemire, Ron Van Lieu, Justine Williams, Jessica Wolf, Robert Woodruff, Evan Yionoulis, Grace Zandarski

The Acting department admits talented and committed individu-als who possess an active intelligence, a strong imagination, and a physical and vocal instrument capable of development and transformation, and prepares them for work as professional actors. The program of study combines in-depth classroom train-ing with extensive production work. Not only is each class of actors a working ensemble as it trains, but also each actor works as part of a larger company consisting of all three classes of actors. That company works within a still larger ensemble consist-ing of all departments of the School.

WALTON WILSON, CHAIR

MAMOUDOU ATHIE (’14) AND ASHTON HEYL (’14) IN HEDDA GABLER BY HENRIK IBSEN, YALE SCHOOL OF DRAMA, 2014.

JENELLE CHU (’16) AND AUBIE MERRYLEES (’16) IN IN ARABIA WE’D ALL BE KINGS BY STEPHEN ADLY GUIRGIS, YALE SCHOOL OF DRAMA, 2014.

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DIRECTINGFACULTY: May Adrales, Christopher Alden, Stephen Brown-Fried, David Chambers, Karin Coonrod, David Diamond, Tim Vasen, Robert Woodruff, Evan Yionoulis

The Directing department admits talented and disciplined individuals with demonstrated potential to become professional directors. In course and production work, emphasis is placed on developing the director’s craft, artistic imagination, and mastery of collaborative leadership. Directing students bring to the School of Drama a wide range of sensibilities but share some crucial qualities. They are generators of ideas and projects. They are not afraid to take risks, and they take responsibility for the philosophical and political implications of their work. Above all, they have lively imaginations, an appetite for hard questions, and a robust curiosity about the world beyond their own cultural borders.

LIZ DIAMOND, CHAIR

CHRIS BANNOW (’14) AND THE CAST OF THE VISIT BY FRIEDRICH DÜRRENMATT, YALE SCHOOL OF DRAMA, 2013.

LIZ DIAMOND

MERLIN HUFF (’14) IN TWELFTH NIGHT; OR, WHAT YOU WILL BY WILLIAM SHAKESPEARE, YALE SCHOOL OF DRAMA, 2014.

GABRIEL LEVEY (’14) AND MARIKO PARKER (’14) IN THIS FUCKING COMMEDIA

PROJECT CREATED BY CHRISTOPHER BAYES (FACULTY) AND THE COMPANY,

YALE SCHOOL OF DRAMA, 2014.

DESIGNFACULTY: David Biedny, Andrew Boyce, John Conklin, Johannes DeYoung, Matthew Frey, Jess Goldstein, Jane Greenwood, Wendall K. Harrington, Ming Cho Lee, Darrel Maloney, Ann McCoy, Lee Savage, Ilona Somogyi, Jennifer Tipton, Ru-Jun Wang, Robert Wierzel

The Design department seeks to develop exciting, thoughtful designers of scenery, costume, lighting, projection, and sound for the theatre. What makes the Yale program unique is the integration of all areas of design. This provides students with the common ground of core knowledge of the field; and it emphasizes that in telling the human story for theatre, all elements of design are an integral part of the whole and cannot be conceived independently. Through classes and production, the department encourages the discovery of process in formulating the design idea, development of a discriminating standard for students’ own work, and preparation for a creative and meaningful professional life in the theatre.

STEPHEN STRAWBRIDGE, MICHAEL YEARGAN, CO-CHAIRSJANE GREENWOOD

STEPHEN STRAWBRIDGE, MICHAEL YEARGAN

ELIA MONTE-BROWN (‘14) AND CHASTEN HARMON (’15), IN AS YOU LIKE IT BY WILLIAM SHAKESPEARE, YALE SCHOOL OF DRAMA, 2014.

WENDALL K. HARRINGTON

drama.yale.edu

STEPHEN DeROSA(’95), JEANINE SERRALLES (’02), ARIANA VENTURI (’15), CECI FERNANDEZ (’14), AND KEIRA NAUGHTON IN THESE PAPER BULLETS!, A MODISH RIPOFF OF WILLIAM SHAKESPEARE’S MUCH ADO ABOUT NOTHING, ADAPTED BY ROLIN JONES (‘04), YALE REPERTORY THEATRE, 2014.

SOUND DESIGNFACULTY: Michael Backhaus, Nick Lloyd, Sten Severson, Matthew Suttor

The Sound Design program works to develop and exercise the conceptual, compositional, and techni-cal and communications skills of sound designers, composers, and engineers through substan-tial academic offerings and a rigorous set of practical design opportunities that together provide a comprehensive professional training experience. Sound design applicants should be innately musical, even if they do not play a musical instrument. They should be familiar with contemporary design tools and technology. They should have a love of the spoken word, an appreciation of all music and sound, and be on their way to developing good critical listening skills. A sound designer must have a natural sensitivity to the aural subtlety of our world.

DAVID BUDRIES, CHAIR

DAVID BUDRIESMATTHEW SUTTOR

EMILY WALTON AND FELICITY JONES IN THE FAIRYTALE LIVES OF RUSSIAN GIRLS BY MEG MIROSHNIK (’11), YALE REPERTORY THEATRE, 2014.

PREMA CRUZ (’14) IN PETER PAN BY J.M. BARRIE, YALE SCHOOL OF DRAMA, 2013.

DRAMATURGY and DRAMATIC CRITICISMFACULTY: Elinor Fuchs, Gundula Kreuzer, James Leverett, Jill Rachel Morris, Marc Robinson, Gordon Rogoff, Rebecca Rugg, Thomas Sellar, Andrew Szegedy-Maszak, Paul Walsh

Students in this department receive intensive training to prepare for careers in three areas: to work in theatres as dramaturgs, artistic producers, literary managers, and in related positions; to work in theatre publishing as critics and editors as well as in other capacities; to teach theatre as practitioners, critics, and scholars. At the core of the training are seminars in literature, theory and criticism, and history to impart a comprehensive knowl-edge of theatre and dramatic literature. Students are trained in topics in institutional dramaturgy, including the formulation of artistic policy and its communication and implementation, and as production dramaturgs, operat-ing within the rehearsal process.

Upon completion of the MFA program, students are eligible to register to remain in residence for one year in which they may formulate a dissertation proposal and apply to the Doctor of Fine Arts program. Upon acceptance, the student is expected to complete the dissertation within two years.

CATHERINE SHEEHY, CHAIR

JONIECE ABBOTT-PRATT, LIZAN MITCHELL, AND TIFFANY RACHELLE STEWART (’07) IN THE HOUSE THAT WILL NOT STAND BY MARCUS GARDLEY (’04), YALE REPERTORY THEATRE, 2014.

YAHYA ABDUL-MATEEN II (’15) AND JAMES CUSATI-MOYER (’15) IN TINY BOYFRIEND BY PHILLIP HOWZE (’15), YALE SCHOOL OF DRAMA, 2013.

MELANIE FIELD (’16) AND SHAUNETTE RENÉE WILSON (’16), IN CARDBOARD PIANO BY HANSOL JUNG (’14), CARLOTTA FESTIVAL OF NEW PLAYS, 2014.

CATHERINE SHEEHY

drama.yale.edu

PLAYWRITING FACULTY: Anne Erbe, Jennifer Kiger, Michael Korie, Kirk Lynn, Lynn Nottage, Sarah Ruhl, Rachel Sheinkin, Paula Vogel

Yale School of Drama’s Playwriting department is de-signed for playwrights who are ready to step forward as leaders of our culture and artists of our time. We work with playwrights who possess an irreducible voice, and who can demonstrate their command of language, ideas, and form. We are interested in play-wrights who are ready to test their own potential, and who want to do so while forming lifelong bonds with their community of fellow artists. We encourage playwrights to keep one eye on the horizon—to hold a global view of the world but write the particularities of their own stories. We expect playwrights to learn the rules and then shatter them, and to engage with their cultural responsibilities as disclosers of truth.

JEANIE O’HARE, CHAIR

JEANIE O’HARE

ATO BLANKSON-WOOD (’15) IN I’M SORRY I BROUGHT UP GOD BY EMILY ZEMBA (’15), YALE SCHOOL OF DRAMA, 2013.

BRADLEY JAMES TEJEDA (‘16) AND AARON BARTZ (‘15) IN BIRD FIRE FLY BY MARY LAWS (‘14), CARLOTTA FESTIVAL OF NEW PLAYS, 2014.

CELESTE ARIAS (‘15) AND CHRISTOPHER GEARY (‘15) IN THUNDERBODIES BY KATE TARKER (‘14), CARLOTTA FESTIVAL OF NEW PLAYS, 2014.

THEATER MANAGEMENTFACULTY: Deborah Berman, Jeffrey Bledsoe, Ben Cameron, Joan Channick, Marion Koltun Dienstag, Patricia Egan, Jaan Elias, Janna Ellis, Laura Freebairn-Smith, Barry Grove, Andrew Hamingson, Barbara Hauptman, Greg Kandel, Susan Medak, Victoria Nolan, Robert Orchard, William J. Reynolds, Rosalie Stemer, Anne Trites, Harry H. Weintraub, George C. White, Steven Wolff

The Theater Management department prepares aspiring leaders and managers to create organizational environ-ments increasingly favorable to the creation of theatre art and its presentation to appreciative audiences. The department provides students with the knowledge, skills, and values to enter the field at high levels of responsibility, to move quickly to leadership positions, and ultimately to advance the state of management practice and the art form itself. While focused primarily on theatre organizations, discussions incorporate other performing arts organizations, other nonprofits, and for-profit organizations to help identify the factors that make theatre organizations succeed. It is training in the practice, informed by up-to-date theoretical knowledge.

The department offers a joint-degree program with Yale School of Management, in which a student may earn both the MFA and MBA degrees in four years (rather than the five years that normally are required).

STAGE MANAGEMENTFACULTY: Laura Brown-MacKinnon, Diane DiVita, Laura Freebairn-Smith, James Mountcastle, Richard Rauscher, Rick Sordelet, Matthew Suttor, Lori Rosecrans Wekselblatt

The goal of the Stage Management department is to assist the student in recognizing and fulfilling his or her role as a passionate artistic collaborator and as an effective organizational manager throughout the entire production process. The role of the production stage manager requires a deep commitment to the artistic process and a fundamental desire to support the work through the creation of an environment in which artistic risks can be taken in creative collabo-ration. The program is structured to prepare the stu-dent for work in the commercial and regional theatre, as well as opportunities in touring, dance, opera, event management, and industrials.

MARY HUNTER, CHAIR

EDWARD A. MARTENSON, CHAIR

MARY HUNTER

ED MARTENSON

drama.yale.edu

JONATHAN MAJORS (‘16) IN CARDBOARD PIANO BY HANSOL JUNG (‘14), CARLOTTA FESTIVAL OF NEW PLAYS, 2014.

TECHNICAL DESIGN and PRODUCTIONFACULTY: Chuck Adomanis, Michael Backhaus, Alex Bagnall, Todd Berling, Erich Bolton, John Boyd, Damian Doria, Tony Forman, Alan Hendrickson, Robin Hirsch, Troy Jensen, David Johnson, Eugene Leitermann, Tom McAlister, Jennifer McClure, Neil Mulligan, Jonathan Reed, William J. Reynolds, David P. Schrader, Matthew T. Welander

Contemporary theatre design and production practices are profoundly influenced by the technology and economics of our age. The diverse aesthetics and the increasingly complex electronic and mechanical components now being employed in the performing arts require professionals who can understand and apply these technologies to the achievement of artistic goals. The department’s sequence of required courses focuses on key principles of the physical and social sciences and their application to performing arts technology. Concurrently, each student pursues elective courses that lead to a concentration in Production Management, Technical Direction, Stage Machinery Design and Automation, or Theatre Planning and Consulting.

BRONISLAW SAMMLER, CHAIR

VICTORIA NOLAN (CENTER)

BEN SAMMLER, CENTER

MOLLY BERNARD (’13) AND STEVEN EPP IN ACCIDENTAL DEATH OF AN ANARCHIST BY DARIO FO, YALE REPERTORY THEATRE, 2013.

ED MARTENSON

DEGREES and CERTIFICATESMASTER OF FINE ARTS

Acting, Design, Sound Design, Directing, Dramaturgy and Dramatic Criticism, Playwriting, Stage Management, Technical Design and Production, Theater Management

The Master of Fine Arts (MFA) degree is conferred on students holding a bachelor’s degree from an accred-ited college who complete with distinction any of the programs of study outlined and who exhibit excellence in their professional practice. Three years in residence are required.

DOCTOR OF FINE ARTS

The Doctor of Fine Arts (DFA) degree is conferred on students who hold the MFA degree in Dramaturgy and Dramatic Criticism and who have completed the MFA qualifying comprehensive examinations and have written a dissertation of distinction whose subject has been approved by the DFA committee.

CERTIFICATE IN DRAMA

Acting, Design, Sound Design, Directing, Playwriting, Stage Management, Technical Design and Production

The Certificate in Drama is conferred on students who do not hold an undergraduate degree from an accredited college, but who complete with distinction the three-year program.

TECHNICAL INTERNSHIP CERTIFICATE

The Technical Internship Certificate is awarded to students seeking to become professional scenic carpenters, sound engineers, projection engineers, properties masters, scenic artists, costumers, or master electricians who complete with distinction the one-year internship program of the Technical Design and Production department.

drama.yale.edu

NON-DEGREE PROGRAMS SPECIAL RESEARCH FELLOW

A limited number of scholars are admitted to Yale School of Drama as one-year special research fellows. These fellows are usually profes-sionals in the field of theatre from abroad who wish to pursue research and audit one or two courses a term within the School of Drama. There is no fellow status affiliated with the Acting department.

SPECIAL STUDENT

Some students are admitted to Yale School of Drama as one-year special students in the areas of Design, Sound Design, Dramaturgy and Dramatic Criticism, Technical Design and Production, or Theater Management. These students must be in residence on a full-time basis and are not eligible for a degree or certificate.

AARON BARTZ (’15), HUGH FARRELL (’15), CHRIS BANNOW (’14), SOPHIE von HASELBERG (’14), AND MICKEY THEIS (‘14) IN PETER PAN BY J.M. BARRIE, YALE SCHOOL OF DRAMA, 2013.

FINANCIAL AID POLICYYale’s financial aid policy has been designed to ensure that, within the School’s resources, all qualified students with financial need will have the opportunity to attend Yale. For that reason, financial aid at the School of Drama is awarded on the basis of financial need.

A small portion of our students and their families have the ability to pay the full costs of educational and living expenses, and others who have demonstrated need can bear substantial costs. Student and family contributions vary based on financial circumstances, but all students on financial aid are expected to contribute a minimum of $2,000 toward their educational and living expenses each year.

Students with need demonstrated through documentation of personal, spousal, and parental income and assets receive financial aid awards consisting of a combination of work-study employment, educational loans, and Yale scholarship. The vast majority of School of Drama students on financial aid receive full tuition scholarships and, in addition, living stipends. The School expects first-year students only to take up to $7,000 in educational loans.

For a student at the median of financial aid eligibility, who is typically unmarried with few assets and little income, the three-year program is financed as follows:

Financial aid figures are for 2014-2015 and may change in future years. Applicants offered admission are typically notified of their financial aid award at the time of their acceptance; students who meet the financial aid applica-tion deadline of February 15 (for all programs) will receive this important in-formation soonest. If you have questions about your specific circumstances, please call the Financial Aid Office at (203) 432-1540.

TUITION and GENERAL EXPENSES

2014-2015

Tuition and fees* $27,250

Books and supplies (estimated) $250–$2,625

Living expenses (estimated) $15,810 $15,250

Estimated Total Costs $43,310–$45,560

* Tuition for Technical Interns and Special Research Fellows is $13,625. Tuition for DFA candidates in residence is $1,000. DFA candidates

in residence receive financial aid covering tuition and health care.

5%

9%

10%

16%

EDUCATIONAL LOANS

TUITION SCHOLARSHIP

LIVING STIPENDS

STUDENT/FAMILY CONTRIBUTION

WORK-STUDY

60%

VISITOR DAYS OCTOBER 24, 2014 & DECEMBER 5, 2014 Optional Visitor Days offer prospective students the opportunity to meet the Dean, talk with faculty and students, see a production, and tour the campus. Capacity is limited. Register online at drama.yale.edu.

APPLICATION DEADLINES

DECEMBER 1, 2014 Directing, Playwriting

JANUARY 2, 2015 Acting

JANUARY 15, 2015 Dramaturgy and Dramatic Criticism

FEBRUARY 1, 2015

Design, Sound Design, Stage Management, Technical Design and Production, Theater Management, Technical Internship Certificate, and Special Research Fellow

Complete application requirements, including letters of recommenda-tion, transcripts, and other materials; Design department portfolio requirements and review procedures; Acting department audition dates; and interview policies for other departments are available online at drama.yale.edu. Incomplete applications will not be reviewed.

Admission to Yale School of Drama is only for full-time graduate study beginning in the fall term. There is no rolling admission. There is no summer session. Transfer or part-time students are not accepted. The Admissions Committee carefully evaluates all applications, and admis-sion decisions are typically determined on or before April 1.

FINANCIAL AID DEADLINESU.S. CITIZENS/PERMANENT RESIDENTS FEBRUARY 15, 2015

File a 2015-2016 Free Application for Federal Student Aid at fafsa.ed.gov; school code: 001426.

File a 2015-2016 Need Access Application at needaccess.org.

APRIL 1, 2015A signed copy of the applicant’s and their parents’ federal tax returns, including copies of all W-2s and schedules, must be mailed to the School of Drama’s Financial Aid Office.

INTERNATIONAL STUDENTS FEBRUARY 15, 2015

File a 2015-2016 Need Access Application at needaccess.org.

Mail the International Student Certification of Finances, which can be printed from the School of Drama’s online financial aid procedures page, at drama.yale.edu.

Both forms are essential for establishing eligibility for student employment, loan, and Yale scholarship.

APRIL 1, 2015Signed copies of the applicant’s and parents’ tax documents and income statements (U.S. and home country) must be submitted to the Financial Aid Office.

CONTACT US

MARIA LEVETON Registrar/Admissions Administrator

Phone (203) 432-1507 Fax (203) 432-9668 ysd.admissions@yale.edu

Financial Aid Officer

Phone (203) 432-1540 Fax (203) 436-8195 ysd.finaid@yale.edu

U.S. POSTAL SERVICE P.O. Box 208325 New Haven, CT 06520-8325

EXPRESS/COURIER SERVICES 149 York Street New Haven, CT 06511

Apply online drama.yale.edu

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We champion the unique voice of each artist and strive for a col-lective vision of our goals; working in balance, we prize the contri-butions and accomplishments of the individual and of the team.

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We wrestle with the most compel-ling issues of our time, to derive new understanding for the advance-ment of the human condition. There-fore, we foster curiosity, invention, bravery, and humor; we also risk and learn from failure, in order to promote practical innovation and per-sonal revelation as lifelong habits.

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FRONT COVER: ZENZI WILLIAMS (‘15) AND YAHYA ABDUL-MATEEN II (‘15) IN PLATONOV BY ANTON CHEKHOV, YALE SCHOOL OF DRAMA, 2013.

PHOTOS BY CHRISTOPHER ASH (‘14), T. CHARLES ERICKSON, JOAN MARCUS, JOEY MORO (‘15), AND CAROL ROSEGG.