As a freshman, Christine K.L. Bendorf ’10 aspired to become an economist. But after taking the first semester of Social Analysis 10: “Principles of Economics,” she realized she did not enjoy the field. Acknowledging “the error of her ways,” she dropped the course.

Her freshman adviser urged her to take classes that she would enjoy for their own sake, explaining that her concentration would fall into place from there.

After dabbling in music, literature, and theater classes that spring, Bendorf decided to design a special concentration in Dramatic Literature and Practice. It consists of both English department classes in dramatic literature and Dramatic Arts courses in acting.

After graduation, Bendorf—who has performed in several student theater productions at Harvard, including “Into the Woods” this spring—plans to move to New York City to try to become a professional actress. She describes the prospect as “a little bit scary” but says she would not have felt as prepared if she had gone to a conservatory.

Bendorf is not alone. A number of students involved in theater adapt Harvard’s resources to their ideas. While Harvard does not have a Dramatic Arts concentration, students say that theater’s unstructured presence in undergraduate life has been an advantage, since it allows students to craft their own artistic experiences.

DIVERSE EXPERIENCES

Since there is not one set path for students involved in theater at Harvard, they pursue their interests on the stage, in the classroom, or both.

The students range from Charles T. James ’09-’10, who is working toward a secondary field in Dramatic Arts, to Michael A. Yashinsky ’11, who has been heavily involved in directing and acting in student productions but has never taken a Dramatic Arts class.

James—a Government concentrator who is involved in On Harvard Time and LevSPN, Leverett’s online intramural sports channel—took his first Dramatic Arts class the summer before sophomore year. He calls it “the most addictive class” he has ever taken.

He says that he has not been very involved in theater productions at Harvard because of the necessary time commitment. Instead, he has focused on classes in Government and the Dramatic Arts.

James says that he aspires to go into broadcasting, advertising, or political consulting. He explains that no matter which path he chooses, drama has taught him invaluable skills in self-expression and body language.

At the opposite end of the spectrum, Yashinksy has accumulated a long roster of theater experience during his time at Harvard. He has never taken a Dramatic Arts class, saying he uses his classes for inspiration.

For example, Societies of the World 32: “The Political Development of Western Europe,” which he took last fall, led him to set Puccini’s Tosca in western Italy. He directed Tosca for the Lowell House Opera in the spring.

“We’re all concentrating in something different, and I think maybe that makes us more interesting as performers and directors and being able to bring different aspects of the world into the theater,” says Yashinsky, a History and Literature concentrator.

Yashinsky, who has interned at a Vienna opera house and the Detroit Opera House, says he would like to go into theater after college.

Jesse T. Nee-Vogelman ’13 prides himself on being a dilettante. He acts, does technical theater for the Hasty Pudding Theatricals, and writes scripts, including the script for this year’s Freshman Musical, “Lost and Clowned.”

He also took Dramatic Arts 101: “Introduction to Theatre” last semester in order to learn more about theater from a theoretical standpoint.

“I quickly realized that most theater here is all outside the classroom,” says Nee-Vogelman.

CONCENTRATION QUESTION

University President Drew G. Faust continually has expressed her intent to funnel support into the arts at Harvard, including theater. But a number of students involved in theater have expressed concern about the prospect of a Dramatic Arts concentration, explaining that it may restrict the creative freedom they currently enjoy.

The Task Force on the Arts, which Faust commissioned in late 2007, released a report in December 2008 recommending the development of an interdisciplinary concentration in the Dramatic Arts.

“In the end, we felt that for Drama to go forward, it would be progressive...to have a concentration, as in my department,” says Alfred F. Guzzetti ’64, a visual arts professor who was a member of the task force.

Financial issues and the level of student interest are the two largest issues facing the development of any new concentration, says Marcus Stern, associate director of the American Repertory Theater (A.R.T.) and a member of the Task Force for the Arts.

The financial crisis seems to have delayed serious contemplation of a Dramatic Arts concentration by the administration. But according to Julie S. Peters, chair of the Committee on the Dramatic Arts, Dramatic Arts faculty members have expressed interest in the prospect of an eventual concentration.

The secondary field in Dramatic Arts, which was developed only two years ago, has received praise from students and faculty. However, some students have expressed concern that a full-fledged concentration could draw resources away from student-run theater productions.

“One of the things that worries me the most about having a concentration is that if people are required to get projects done, most of the resources and stuff for theater will go to the concentration,” says Elizabeth G. Shields ’10, former president of the Harvard-Radcliffe Dramatic Club (HRDC).

Students say that the current slate of Dramatic Arts courses could not accommodate a concentration because classes taught at the A.R.T. can accept only a limited number of students. As a result, many students are turned away from courses they want to take.

Bendorf tried to take Dramatic Arts 130r: “Directing” twice, but she was rejected both times.

Elizabeth J. Krane ’11, current president of the HRDC, said she shares the concern that the Dramatic Arts committee’s resources would only be available to concentrators. Furthermore, she says, fewer people might participate in student-run theater productions if there were a Dramatic Arts concentration.

Students involved in the dramatic arts say they are concerned that space constraints will only worsen if a concentration is created and the Dramatic Arts faculty does not grow.

Despite Faust’s vocal support for the arts, the possibility for substantial growth in any one area of the Faculty of Arts and Sciences appears small. FAS Dean Michael D. Smith—who controls the distribution of faculty searches in FAS—told The Crimson in November that he plans to decrease the size of the Faculty through attrition and a retirement program in order to combat FAS’ deficit.

Some students say they prefer to focus on other academic subjects while remaining involved in drama. English concentrator Matthew I. Bohrer ’10 says that he relishes being able to focus on English while pursuing Dramatic Arts as a secondary field and participating in student-run productions.

“I realized that if I was coming to Harvard, I wanted to take advantage of all the traditional academic opportunities that there are,” he says.

But others say they would support a concentration in the Dramatic Arts. Bendorf, who created her own concentration, says that having a clearly defined advising structure would make it easier for students to pursue their interests.

She also says that since Harvard’s theater productions are student-run, she now understands the technical aspects of theater in addition to how to act. With theater resources in their current form, Harvard has “given her more than any other school could have.”

David J. Smolinsky ’11, who is involved in theater, including the Hasty Pudding Theatricals, says that he thinks a concentration would “only enhance” student-run productions. “The amazing thing about Harvard is the freedom to pursue your extracurricular activity, so I don’t think it would impinge on the ability to carry out a similar extracurricular program,” he says.

Because of financial difficulties and student ambivalence, it appears unlikely that a Dramatic Arts concentration will be developed soon. But with students shaping resources to their interests and learning how to independently lead their own productions, it appears that for some aspiring actors and directors, Harvard’s decentralization of theater opportunities may be an advantage.

—Staff writer Monika L.S. Robbins can be reached at mrobbins@college.harvard.edu.