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★ 0202610h 16m

Crash Course Theater and Drama

Arts

In 50 videos, Mike Rugnetta teaches you theater and drama! This course is based on an introductory college level course in Theater and explores the history, theory, and technology that contributes to the art form most like life. By the end of this course, you will be able to: * Describe the leading theories of the origins of theater * Understand how theater was produced and what it meant to audiences around the world * Analyze the historical and cultural contexts that lead to the creation of different movements in theater history * Argue for the importance of producing and understanding theater

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Arts

Taon

2026

Tagal

10h 16m

IMDb

0

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Release2026

Runtime10h 16m

IMDb★ 0

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Mga Komento

10 Mga Komento

Juliet IbrahimMay 13, 2026

This is it! We're going out with a singing, dancing look at the Broadway Book Musical. Oklahoma! On the Town! Annie Get Your Gun! Also, just Annie! Today you'll learn about the development of the Broadway Book Musical in the late 19th and early 20th centuries, and get a sense of how the form developed through the Golden Age of Broadway. Crash Course is on Patreon! You can support us directly by signing up at http://www.patreon.com/crashcourse Thanks to the following patrons for their generous monthly contributions that help keep Crash Course free for everyone forever: Eric Prestemon, Sam Buck, Mark Brouwer, Bob Doye, Jennifer Killen, Naman Goel, Patrick Wiener II, Nathan Catchings, Efrain R. Pedroza, Brandon Westmoreland, dorsey, Indika Siriwardena, James Hughes, Kenneth F Penttinen, Trevin Beattie, Satya Ridhima Parvathaneni, Erika & Alexa Saur, Glenn Elliott, Justin Zingsheim, Jessica Wode, Kathrin Benoit, Tom Trval, Jason Saslow, Nathan Taylor, Brian Thomas Gossett, Khaled El Sha

Zeeni ManshaMay 13, 2026

This is it! We're going out with a singing, dancing look at the Broadway Book Musical. Oklahoma! On the Town! Annie Get Your Gun! Also, just Annie! Today you'll learn about the development of the Broadway Book Musical in the late 19th and early 20th centuries, and get a sense of how the form developed through the Golden Age of Broadway. Crash Course is on Patreon! You can support us directly by signing up at http://www.patreon.com/crashcourse Thanks to the following patrons for their generous monthly contributions that help keep Crash Course free for everyone forever: Eric Prestemon, Sam Buck, Mark Brouwer, Bob Doye, Jennifer Killen, Naman Goel, Patrick Wiener II, Nathan Catchings, Efrain R. Pedroza, Brandon Westmoreland, dorsey, Indika Siriwardena, James Hughes, Kenneth F Penttinen, Trevin Beattie, Satya Ridhima Parvathaneni, Erika & Alexa Saur, Glenn Elliott, Justin Zingsheim, Jessica Wode, Kathrin Benoit, Tom Trval, Jason Saslow, Nathan Taylor, Brian Thomas Gossett, Khaled El Sha

Eddy LamaMay 13, 2026

This is it! We're going out with a singing, dancing look at the Broadway Book Musical. Oklahoma! On the Town! Annie Get Your Gun! Also, just Annie! Today you'll learn about the development of the Broadway Book Musical in the late 19th and early 20th centuries, and get a sense of how the form developed through the Golden Age of Broadway. Crash Course is on Patreon! You can support us directly by signing up at http://www.patreon.com/crashcourse Thanks to the following patrons for their generous monthly contributions that help keep Crash Course free for everyone forever: Eric Prestemon, Sam Buck, Mark Brouwer, Bob Doye, Jennifer Killen, Naman Goel, Patrick Wiener II, Nathan Catchings, Efrain R. Pedroza, Brandon Westmoreland, dorsey, Indika Siriwardena, James Hughes, Kenneth F Penttinen, Trevin Beattie, Satya Ridhima Parvathaneni, Erika & Alexa Saur, Glenn Elliott, Justin Zingsheim, Jessica Wode, Kathrin Benoit, Tom Trval, Jason Saslow, Nathan Taylor, Brian Thomas Gossett, Khaled El Sha

SYNTICHE JISCAMay 13, 2026

This is it! We're going out with a singing, dancing look at the Broadway Book Musical. Oklahoma! On the Town! Annie Get Your Gun! Also, just Annie! Today you'll learn about the development of the Broadway Book Musical in the late 19th and early 20th centuries, and get a sense of how the form developed through the Golden Age of Broadway. Crash Course is on Patreon! You can support us directly by signing up at http://www.patreon.com/crashcourse Thanks to the following patrons for their generous monthly contributions that help keep Crash Course free for everyone forever: Eric Prestemon, Sam Buck, Mark Brouwer, Bob Doye, Jennifer Killen, Naman Goel, Patrick Wiener II, Nathan Catchings, Efrain R. Pedroza, Brandon Westmoreland, dorsey, Indika Siriwardena, James Hughes, Kenneth F Penttinen, Trevin Beattie, Satya Ridhima Parvathaneni, Erika & Alexa Saur, Glenn Elliott, Justin Zingsheim, Jessica Wode, Kathrin Benoit, Tom Trval, Jason Saslow, Nathan Taylor, Brian Thomas Gossett, Khaled El Sha

Dénola GreyMay 13, 2026

It's difficult to talk about African theater thanks to colonialism. Pre-colonial Africa was home to many spoken languages, and not nearly as many written languages. The chain of oral tradition was broken by colonial policies, and so many pre-colonial traditions are lost. Today, we're going to talk about some of the dance and theater traditions of Africa, and look at post-colonial theater across the continent. Crash Course is on Patreon! You can support us directly by signing up at http://www.patreon.com/crashcourse Thanks to the following patrons for their generous monthly contributions that help keep Crash Course free for everyone forever: Eric Prestemon, Sam Buck, Mark Brouwer, Bob Doye, Jennifer Killen, Naman Goel, Patrick Wiener II, Nathan Catchings, Efrain R. Pedroza, Brandon Westmoreland, dorsey, Indika Siriwardena, James Hughes, Kenneth F Penttinen, Trevin Beattie, Satya Ridhima Parvathaneni, Erika & Alexa Saur, Glenn Elliott, Justin Zingsheim, Jessica Wode, Kathrin Benoit,

Alexandra Obey May 13, 2026

It's difficult to talk about African theater thanks to colonialism. Pre-colonial Africa was home to many spoken languages, and not nearly as many written languages. The chain of oral tradition was broken by colonial policies, and so many pre-colonial traditions are lost. Today, we're going to talk about some of the dance and theater traditions of Africa, and look at post-colonial theater across the continent. Crash Course is on Patreon! You can support us directly by signing up at http://www.patreon.com/crashcourse Thanks to the following patrons for their generous monthly contributions that help keep Crash Course free for everyone forever: Eric Prestemon, Sam Buck, Mark Brouwer, Bob Doye, Jennifer Killen, Naman Goel, Patrick Wiener II, Nathan Catchings, Efrain R. Pedroza, Brandon Westmoreland, dorsey, Indika Siriwardena, James Hughes, Kenneth F Penttinen, Trevin Beattie, Satya Ridhima Parvathaneni, Erika & Alexa Saur, Glenn Elliott, Justin Zingsheim, Jessica Wode, Kathrin Benoit,

THE TIKTOK GODDESS 🧝🏻‍♀️May 13, 2026

It's difficult to talk about African theater thanks to colonialism. Pre-colonial Africa was home to many spoken languages, and not nearly as many written languages. The chain of oral tradition was broken by colonial policies, and so many pre-colonial traditions are lost. Today, we're going to talk about some of the dance and theater traditions of Africa, and look at post-colonial theater across the continent. Crash Course is on Patreon! You can support us directly by signing up at http://www.patreon.com/crashcourse Thanks to the following patrons for their generous monthly contributions that help keep Crash Course free for everyone forever: Eric Prestemon, Sam Buck, Mark Brouwer, Bob Doye, Jennifer Killen, Naman Goel, Patrick Wiener II, Nathan Catchings, Efrain R. Pedroza, Brandon Westmoreland, dorsey, Indika Siriwardena, James Hughes, Kenneth F Penttinen, Trevin Beattie, Satya Ridhima Parvathaneni, Erika & Alexa Saur, Glenn Elliott, Justin Zingsheim, Jessica Wode, Kathrin Benoit,

@carlie5May 13, 2026

It's difficult to talk about African theater thanks to colonialism. Pre-colonial Africa was home to many spoken languages, and not nearly as many written languages. The chain of oral tradition was broken by colonial policies, and so many pre-colonial traditions are lost. Today, we're going to talk about some of the dance and theater traditions of Africa, and look at post-colonial theater across the continent. Crash Course is on Patreon! You can support us directly by signing up at http://www.patreon.com/crashcourse Thanks to the following patrons for their generous monthly contributions that help keep Crash Course free for everyone forever: Eric Prestemon, Sam Buck, Mark Brouwer, Bob Doye, Jennifer Killen, Naman Goel, Patrick Wiener II, Nathan Catchings, Efrain R. Pedroza, Brandon Westmoreland, dorsey, Indika Siriwardena, James Hughes, Kenneth F Penttinen, Trevin Beattie, Satya Ridhima Parvathaneni, Erika & Alexa Saur, Glenn Elliott, Justin Zingsheim, Jessica Wode, Kathrin Benoit,

Eddy LamaMay 13, 2026

Poor Theater and Theater of the Oppressed were two sort of concurrent movements that shared some of the same aims. Jerzy Grotowski's Poor Theater eschewed the use of lighting, props, costumes, makeup, and many of the other trappings of "rich" theater. Augusto Boal's Theater of the Oppressed in Brazil challenged the ideas of how plays were written and performed, and blurred the lines between actors and audiences. Crash Course is on Patreon! You can support us directly by signing up at http://www.patreon.com/crashcourse Thanks to the following Patrons for their generous monthly contributions that help keep Crash Course free for everyone forever: Eric Prestemon, Sam Buck, Mark Brouwer, Bob Doye, Jennifer Killen, Naman Goel, Patrick Wiener II, Nathan Catchings, Efrain R. Pedroza, Brandon Westmoreland, dorsey, Indika Siriwardena, James Hughes, Kenneth F Penttinen, Trevin Beattie, Satya Ridhima Parvathaneni, Erika & Alexa Saur, Glenn Elliott, Justin Zingsheim, Jessica Wode, Kathrin Benoit

khuMz AleEyMay 13, 2026

Poor Theater and Theater of the Oppressed were two sort of concurrent movements that shared some of the same aims. Jerzy Grotowski's Poor Theater eschewed the use of lighting, props, costumes, makeup, and many of the other trappings of "rich" theater. Augusto Boal's Theater of the Oppressed in Brazil challenged the ideas of how plays were written and performed, and blurred the lines between actors and audiences. Crash Course is on Patreon! You can support us directly by signing up at http://www.patreon.com/crashcourse Thanks to the following Patrons for their generous monthly contributions that help keep Crash Course free for everyone forever: Eric Prestemon, Sam Buck, Mark Brouwer, Bob Doye, Jennifer Killen, Naman Goel, Patrick Wiener II, Nathan Catchings, Efrain R. Pedroza, Brandon Westmoreland, dorsey, Indika Siriwardena, James Hughes, Kenneth F Penttinen, Trevin Beattie, Satya Ridhima Parvathaneni, Erika & Alexa Saur, Glenn Elliott, Justin Zingsheim, Jessica Wode, Kathrin Benoit