Denise J. Hart holds an MFA in Playwriting from Sarah Lawrence College and serves as the area coordinator of Playwriting at Howard University where she's a tenured Professor advising Playwriting/TV & Film students. 

Courses taught at the University level

Playwriting/Screenwriting 

PLAY ANALYSIS - Introduction to Aristotelian elements and principles of drama. Critical analysis and dramaturgy of dramatic literature and theatrical genres with regard to plot, theme, and character, approached from the director’s and actor’s viewpoints.

PLAYWRITING 1 - A beginning playwriting course that aides the student with developing their creative process as playwrights. Students learn the fundamental craftsmanship  of dramatic structure, plot, character development, motivation, creating stakes and writing realistic dialogue.   Students write one scene per week that culminate in a one act play. 

PLAYWRITING 2 - Students further examine the process of developing characters, setting, developing a premise and writing dialogue through a variety of scene assignments within the 10 minute play structure work. Students are also introduced to character archetypes and writing in groups that mirror/reflect the energy and demand of the television writers room. 

PLAYWRITING 3 - An advanced course in play/script preparation with a focus on developing the full-length play. Greater emphasis on theme, nontraditional structure and evolving the students developing "voice".

PLAYWRITING 4 - A continuation of Playwriting III. An advanced course in play/script preparation with a focus on developing the full-length play. Greater emphasis on theme, nontraditional structure and evolving the students developing "voice".

PLAYWRITING SEMINAR 1 - The course is writing intensive.  Students will focus on writing and re-writing.  The goal for the student is to continue to develop the full length play (60-90 pages) developed in Playwriting 4.  The student is asked to explore more deeply the motivation behind the work. To further define the key themes, subject matter, theatricality and style of the play.

PLAYWRITING SEMINAR 2 - Students will build upon the skills developed in all previous Playwriting courses: 1, 2 3, & 4.  Students will focus on writing and re-writing.  The goal for the student is to complete the full-length play (60-90 pages) developed in Playwriting Seminar.

SCRIPT DEVELOPMENT/TV DRAMA - is an immersive interdisciplinary class reliant upon an industry executive integrated into the curriculum who will among other things, teach students industry standards and best practices of TV production as it relates to the script development process (i.e. original material vs. adapted material, creating a package, attaching talent, etc.), how the creative process works at studios and networks and demystifying the process of developing a TV show/series.

During the first several weeks of the course students will learn the various roles of television producers as well as learn how writers typically interface within that ecosystem. Students will learn how to create a log line and pitch to producers. An experiential pitch fest will be led by faculty and industry executives. The students will pitch within the genres of horror, family adventure, musicals for TV, coming of age, etc. Executives will provide students with valuable feedback focused on increasing knowledge, confidence and developing a pitch process. The course will center around a final project consisting of a fully produced short (5-7 minute) film. During the first several weeks of the course the students will have a series of short form writing assignments focused on character development, minor/major conflict and writing inside of a specific genre: horror, family adventure, musicals for TV, coming of age, etc. For the culminating semester final project, students will write a 5-7 minute film. 

Theory

CONTEMPORARY ISSUES & AESTHETICS IN BLACK THEATRE AND FILM - This course exposes students to the contextualization of the aesthetics of theories of Black Theatre versus African American theatre. It also highlights the myriad of ways each aesthetic informs and dictates performative outcomes in society. The content in this course will help students critically analyze how black aesthetics in theatre and other performative arenas has been used to create, renew, and in some cases, to deconstruct black identity as well as shape or advance collective and individual identity. Students will critically analyze the societal impact of the aesthetics and representation of black identity in theatre, and how those same aesthetics, are featured in both television and film. 

CONTEMPORARY TRENDS IN THEATRE - Examines issues and trends in American theatre from the mid 1960’s to the present.  Includes the study of development of Regional Theatre, Off-off Broadway, Black American Theatre, the “Happening,” Environmental Theatre and Theatre in American Colleges and Universities.

DRAMATURGY AND ANALYSIS: The Plays of August Wilson - This course introduces students to August Wilson’s impressive Pittsburgh-Cycle of 10 plays that illustrate 20th century African-American experiences. Dramaturgically we analyze three specific plays: Joe Turner's Come and Gone (1911), Jitney (1979) and Two Trains Running (1960's). This course uses an interdisciplinary approach to analyzing, and understanding Wilson’s work as we explore influences on his work such as the blues, visual artist Romare Bearden, and writers of the Harlem Renaissance and the Black Arts Movement. 

INTRODUCTION TO PRODUCTION DRAMATURGY – introduction to the fundamentals of production dramaturgy through the theoretical study of the dramaturgical processes and the practical application of dramaturgy for a live production. Students are introduced to the history of dramaturgy and the key elements of pre-production research on the playwright and the historical and social context of the play. Students execute a variety of projects that engage textual analysis, dramatic criticism, play analysis and historiography. 

INTRODUCTION TO THEATRE - Examination of theatre in terms of its critical, historical aesthetic, and practical aspects, focusing on the relationship between theatre and society in various periods.   

METHODS AND PRINCIPLES OF TEACHING - An advanced course designed to equip the student with readily applicable teaching tools in preparation for the secondary school environment.  Emphasis placed on theories of Blooms taxonomy, Howard Gardner as well as Arts Integration techniques, development of teaching philosophy, curriculum plans and unit and lesson plans.

Acting

ACTING TECH I - Introduction to Stanislavski technique with a focus on development of the acting instrument and the processes and techniques of the actor.  A fusion of Improvisation and Stanislavski technique help students learn  textual analysis and how to solve acting problems engage characters through personal involvement and accurate selecting of and accomplishment stage tasks.

ACTING TECH II - Continuation of Stanislavski technique. Practical exploration of the actor’s craft through improvisation and exercises in physical and psychological action; solving acting problems through the use of imagination, observation and research as tools for exploring the script and characters.

CREATIVE DRAMA - Introduction to improvisation techniques that will aid in freeing the student to explore her/his mind, voice and body in an original and deeply creative manner. Enhance the student’s ability to understand and utilize the intra-dynamics of their creative aptitude.

CREATIVITY IN LIFE AND THEATRE - Using the theories of Viola Spolin, Daniel Pink, Rollo May, Edward de Bono, Eric Maisel and Michael Michalko, Creativity in Drama and Life is designed to enhance the student’s ability to understand and utilize their creative abilities.  This course will aid in freeing the student to explore their mind, voice and body in an original and deeply creative manner.  Each student will be challenged to become aware of processes that aid them in ridding themselves of mental and physical tension, improve their focusing skills, and to take bold and spontaneous risks (both written and improvised).  In addition, this course is geared towards making the student aware of the application of the creative process to fields beyond theatre.  This class will also engage the student through using the principles of teamwork and leadership to involve them in honest and conscientious self and peer assessment, and, to expose the student to techniques of creative application in order to drastically improve their creativity and ability to communicate that creativity through communication and interaction with others.