Introduction to London Theatre THET110 University of Maryland

Lecturer: Christine Hoenigs Office hours by appointment

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Course description

This course offers a general introduction to London theatre through text and performance analysis. It gives you the opportunity to see a wide canon of plays in performance and study texts and relevant secondary sources, including interviews, pictorial and photographic material, reviews and academic articles.

Our class syllabus is shaped and defined by the plays currently on the London stages, but it will also give you a chronological overview of key dramatists and their works, explain the historical context and stage history of selected plays, and it will introduce any new terminology.

In class we will then analyze a play text (or excerpts from it) and discuss theories, stage practice and other material which I will provide for you each week. The main focus however will be on performance analysis – in our post-show discussions we will talk about various aspects of each performance, including set and lighting design, the use of different stage forms, acting, directing, audience participation and music.

You will see a variety of performances on the London stage with modern interpretations of traditional plays and newly written and devised material. We will discuss the role of theatre in today’s society, its relevance and its ability to address issues such as politics, race, gender, sexuality, ethnicity, religion and class.

In a practical workshop with a profession theatre/opera director (tbc), you will get the chance to work on text excerpts and ask questions on acting and directing. A backstage tour of one of the theatres (tbc) will provide you with a better understanding of modern theatre practice, illustrating the history and present day use of different theatre venues, the work of set and costume designers, and the use of different stage forms.

Learning outcomes

At the end of this course you should...

...demonstrate an understanding of the history and development of theatre as an art form, including various theatrical styles, dramatic genres and stage forms from Greek antiquity to the present day.

...understand and be able to discuss different theories, concepts and motivations for theatrical performance.

...be able to read and analyze plays with confidence and a critical attitude, paying attention to a play’s socio-historical context and using relevant terminology as well as a wide range of secondary sources in their analysis.

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...know how to research, evaluate and apply relevant secondary sources (e.g. academic articles, performance reviews, theatre data bases, written/audio/video interviews, internet resources) for their presentations and written work.

...understand both the creative process (e.g. acting and directing techniques) and the more practical aspects of theatre making (e.g. the structures of (none) subsidised theatres, producing, marketing, sponsorship schemes).

...display your ability to understand, analyze and critically discuss a theatre performance as an interpretation of a play in both its historical and current social context, assessing the meaning of theatre with its creative abilities and limitations and expressing your criticism clearly and professionally.

...demonstrate the ability to plan, prepare, structure and present their oral and written work in an academic and professional manner.

Theatre visits

Tickets for backstage tours and theatre performances will be booked for you. Please make sure you are at the theatre on time and allow ample time to reach the venue. All theatres have websites with directions how to get to the venue, please check well in advance. Keep in mind that using London transport (including taxis) can take longer than expected, especially during the evening rush hour or at weekends, when some tube lines might be affected by refurbishment works. You can always check the website for London Transport (www.tfl.gov.uk) for average travel times and directions.

Please note that most shows do not allow latecomers to be admitted to the auditorium. If you miss a show, you will still have to pay for the ticket. In this case you will also not be able to contribute to the post-show discussion in class, which will have a negative impact on your participation grade. See the weekly outline for a list of theatre visits (subject to change).

Theatre etiquette

Londoners don’t usually dress up when they go to the theatre, with the exception of some opera, ballet or gala performances. Latecomers are hardly ever permitted to the auditorium, so please ensure you are at the venue on time. ALWAYS switch off your mobile phones and keep them switched off – don’t use them during the performance at all. Some theatres allow drinks in plastic cups and ice-cream (sold in the interval) in the auditorium. Please refrain from eating sweets or other food as the noise is disturbing to both the actors and other audience members.

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Course expenses

Travelling to the theatres is best by the Underground and busses. All theatres are located in zones 1 or 2. Please make sure you have sufficient funds on your Oyster card to travel.

Academic Accommodations

If you have a documented disability, you should contact Disability Support Services 0126 Shoemaker Hall. Each semester students with documented disabilities should apply to DSS for accommodation request forms which you can provide to your professors as proof of your eligibility for accommodations. The rules for eligibility and the types of accommodations a student may request can be reviewed on the DSS web site at http://www.counseling.umd.edu/DSS/receiving_serv.html.

Religious Observances

The University System of Maryland policy provides that students should not be penalized because of observances of their religious beliefs, students shall be given an opportunity, whenever feasible, to make up within a reasonable time any academic assignment that is missed due to individual participation in religious observances. It is the responsibility of the student to inform the instructor of any intended absences for religious observances in advance. Notice should be provided as soon as possible but no later than the end of the schedule adjustment period. Faculty should further remind students that prior notification is especially important in connection with final exams, since failure to reschedule a final exam before the conclusion of the final examination period may result in loss of credits during the semester. The problem is especially likely to arise when final exams are scheduled on Saturdays.

Academic integrity

The University of Maryland has a nationally recognized Code of Academic Integrity, administered by the Student Honor Council. This Code sets standards for academic integrity at Maryland for all undergraduate and graduate students. As a student you are responsible for upholding these standards for this course. It is very important for you to be aware of the consequences of cheating, fabrication, facilitation, and plagiarism. For more information on the Code of Academic Integrity or the Student Honor Council, please visit http://www.studenthonorcouncil.umd.edu/whatis.html The University of Maryland is one of a small number of universities with a student-administered Honors Code and an Honors Pledge, available on the web at http://www.jpo.umd.edu/aca/honorpledge.html. The code prohibits students from cheating on exams, plagiarizing papers, submitting the same paper for credit in two courses without authorization, buying papers, submitting fraudulent documents, and forging signatures. The

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University Senate encourages instructors to ask students to write the following signed statement on each examination or assignment: "I pledge on my honor that I have not given or received any unauthorized assistance on this examination (or assignment).”

Assessments

1. Attendance and participation in class (20%).

2. Paper (2000 words) on the relevance of theatre in London (25%).

3. Three short written reviews (750 words each, 2250 words in total) on three performances seen this term (25%).

4. A 2 hour exam (30%)

Attendance & Participation

It is essential that you attend all classes and theatre performances. Please inform me as soon as possible if you cannot attend a class or theatre visit. Ensure you follow the University of Maryland procedure if you miss class due to illness. You received a handout during your academic orientation detailing the attendance policy. Failure to comply with established procedures will mean your absence is unexcused. Unexcused absences will result in a drop of one grade level for each occurrence (e.g. from B to B-).

You should come to class well prepared and willing to contribute regularly to discussions in class as your participation will not only shape the nature and success of this class, but will also contribute to your final grade. Your grade for participation will be negatively affected if you miss or are late for classes or theatre visits, and if you do not contribute to discussions or other activities inside or outside the classroom on a regular basis. This includes disruptive and rude behaviour.

Time in class is your chance to bring in your impressions on texts and shows, to show your creativity and present your opinions, and for open discussions and an exchange of ideas. Without your input, this course will be only half as interesting, so please be an active member of this class. Please don’t use cell phones or computers during class.

Paper (2000 words, +/- 10%)

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Your paper will analyse the relevance of theatre in London. Use the plays and performances we have seen so far as the basis for your essay and show how current social, economic, cultural and political topics are being discussed on the London stage. Evaluate the impact theatre can have by pointing out strengths and weaknesses of particular productions and theatre as an art form.

Your essay will also assess the importance of theatre as a tool for political commentary and socio- political change. You can point out relevant political issues you would personally like to see discussed in a play – which aspects, problems, current topics do you think would make a good play and why?

Please add your word count at the end.

Three reviews (750 words each, 2250 words in total, +/- 10%)

Please note: • It is important that you read as many reviews as possible throughout this semester. Nearly all British newspapers have free online versions, so you won’t have to buy any copies. The library also has various papers available. Try to get a feel for the layout, style and contents of reviews.

• The layout, style and content of your review should be that of a professional newspaper review, not a blog in first person narration. So think of picture material, invent your own rating system, be professional and fair in your criticism and praise. Be creative!

• Give your reader a professional insight into the play and the performance, highlighting the strong and weak points of the production to someone who hasn’t seen it yet.

Exam

You will be given several questions to choose from and have 2 hours to write an essay on your chosen question. Please note: • The best way to prepare for the exam is to have good text knowledge, including the texts in your reading pack. You don’t have to be able to quote from a play, but know all plays well enough to write about them. • The use of texts, notes or Kindles is not allowed.

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• Use all the available time for this paper: structure it clearly and include examples to underline your arguments. Go into detail with our descriptions, analysis, ideas. Detail and thorough work is key in this final assignment which should showcase what you have learned this term.

Grading

A 100%-95% A- 94.99%-90% B+ 89.99%-85% B 84.99%-80% B- 79.99%-75% C+ 74.99%-70% C 69.99-65% C- 64.99-60% D+ 59.99-55% D 54.99-50% D- 49.99-45%

Final Grade – example of calculations

Student Participation Paper 3 reviews1 Exam Final % Final 20% 25% 25% 30% grade a 80 x .20 72 x .25 88 x .25 61 x .30 74.3% C+ = 16 = 18 = 22 = 18.3 b 88 x .20 92 x .25 71 x .25 90 x .30 85.35% B+ = 17.6 = 23 = 17.75 = 27 c 70 x .20 80 x .25 75 x .25 76 x .30 75.55% B- = 14 = 20 = 18.75 = 22.8 d 84 x .20 94 x .25 86 x .25 97 x .30 90.9% A- = 16.8 = 23.5 = 21.5 = 29.1 e 95 x .20 90 x .25 97 x .25 93 x .30 93.65% A- = 19 =22.5 = 24.25 = 27.9 f 79 x .20 66 x .25 73 x .25 55 x .30 67.05% C = 15.8 = 16.5 = 18.25 = 16.5

Please note:

The instructor reserves the right to modify the course requirements, meeting times and other related policies as circumstances may dictate, and with sufficient notification of all students. Students are responsible for finding out information distributed in classes from which they were absent.

1 Add the individual grades of all three reviews and divide by 3 to get the overall grade for your reviews.

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Reading List

• Euripides. Medea [in: Sophocles. Electra and other plays. Penguin Classics, 2008. ISBN: 978-0140449785]

• Everyman [in: Three Late Medieval Morality Plays: “Everyman”, “Mankind” and “Mundus et Infans. Ed. G. A. Lester. New Mermaids, 2002. ISBN: 978-0713666618]

• Thomas Kyd. The Spanish Tragedy. Eds. Andrew Gurr and J.R. Mulryne. New Mermaids, 2009. ISBN: 978-1408114216

• Richard Brinsley Sheridan. The Rivals. New Mermaids, 2004. ISBN: 978-0713667653

• Moliere. Tartuffe [in: “The Misanthrope”, “Tartuffe” and other plays. Oxford World Classics, 2008. ISBN: 978-0199540181]

• Friedrich Schiller. The Robbers. [in: “The Robbers” and “Wallenstein”. Penguin Classics, 1979. ISBN: 978-0140443684]

• Anton Chekhov. Uncle Vanya. [in: Anton Chekhov. Plays. Transl. Peter Carson. Penguin Classics, 2002. ISBN: 978-0140447330]

• Bertolt Brecht. The Caucasian Chalk Circle. Transl. Hugh Rorrison, 1984. ISBN: 978- 0413544506

• Noel Coward. Private Lives. Methuen, 2000. ISBN: 978-0413744906

• John Osborne. Look Back in Anger. Faber and Faber, 1979. ISBN: 978-0571038480

• Brian Friel. Translations. Faber and Faber, 1981. ISBN: 978-0571117420

• Alan Bennett. The History Boys. Faber & Faber, 2004. ISBN: 978-0571224647.

Please check the library for a copy of plays or other research material. If you cannot find what you are looking for, please contact me and I will help you. If you want to buy a version for kindle or any other electronic device, that is fine, and of course you can check if copies are available online or get second hand editions.

There are some very good (second hand) bookshops just around the corner which also stock plays:

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Oxfam Books Waterstones 12 Bloomsbury Street 82 Gower Street WC1B 3QA London www.oxfammarylebone.co.uk/bloomsbury.php WC1E 6EQ http://www.waterstones.com

Henry Pordes The bookshop at the National Theatre http://www.henrypordesbooks.com/ South Bank 58-60 Charing Cross Road London SE1 9PX London WC2H 0BB http://shop.nationaltheatre.org.uk/

Samuel French Theatre bookshop Skoob 52 Fitzroy Street 66 The Brunswick London W1T 5JR London WC1N 1AE http://www.samuelfrench-london.co.uk/ http://www.skoob.com/

Recommendations for further reading

Neil Grant. History of Theatre. London, 2002. ISBN: 0.600.59632.X Oscar G. Brockett. History of the Theatre. London, 1995. ISBN: 0.205.16483.8 Glynne Wickham. A History of the Theatre. London, 1992. ISBN: 0.7148.2736.3

Weekly Outline

Class 1 • Introduction • How to interpret a performance / a text • Text work Medea

F*ck the Polar Bears 7.30pm, Bush Theatre www.bushtheatre.co.uk

Class 2

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• post-show discussion F*ck the Polar Bears • Text work Medea & Everyman

Hangmen 7.30pm, Royal Court Theatre www.royalcourttheatre.com

Class 3 • Post-show discussion of Hangmen • New writing & the history of the Royal Court Theatre • Text work The Spanish Tragedy  Your first review is due today at 9am.

Our Country’s Good 7.30pm, National Theatre (Olivier) www.nationaltheatre.org.uk

Class 4

• Post-show discussion of Our Country’s Good • Creating a National Theatre • Text work The Rivals

Mr. Foote’s Other Leg 7.30pm, Hampstead Theatre www.hampsteadtheatre.com

Class 5

• Post-show discussion Mr. Foote’s Other Leg • Text work Tartuffe

Medea 8pm, Almeida Theatre www.almeida.co.uk

Class 6

• Post-show discussion Medea • Text work The Robbers  Your second review is due today at 9am.

Class 7

• Practical theatre workshop with a theatre director (tbc) • Text work Uncle Vanya

Treasure 7.30pm, Finborough Theatre www.finboroughtheatre.co.uk

Class 8

• Post-show discussion Treasure • Text work The Caucasian Chalk Circle

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Wolf in Snakeskin Shoes 7.30pm, Tricycle www.tricycle.co.uk

Class 9

• Post-show discussion Wolf in Snakeskin Shoes • Text work Private Lives  Your paper is due today at 9am.

Class 10

• Walking tour through Covent Garden • Text work Look Back in Anger

Farinelli and the King 7.30pm, Duke of York’s Theatre http://www.atgtickets.com/venues/duke-of-yorks/access/

Class 11

• Post-show discussion Farinelli and the King • Text work Translations

The Knight from Nowhere 7.45pm, Park Theatre www.parktheatre.co.uk

Class 12

• Post-show discussion The Knight from Nowhere • Adapting stories: Novel – Stage, Play – Film • Text work The History Boys •  Your third review is due today at 9am.

Barbarians 7.45pm, Young Vic www.youngvic.org

Exam

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