Thea 4420 Literature and History of the Theatre Ii

THEA 4420 LITERATURE AND HISTORY OF THE THEATRE II SYLLABUS - Spring 2009

INSTRUCTOR: Dr. Julie Rae Pratt CREDIT: 3 hours OFFICE/PHONE: MARTIN 113B, 543-4330 or 4020(Theatre Dept. Office) MEETING: MWF 10:00 EMAIL: [email protected] MARTIN 110 OFFICE HOURS: MW 2:00; TR 9:30 and BY APPT

COURSE DESCRIPTION: This course is designed to survey various aspects of civilization in selected periods 1700 to the present with a primary focus on European and American theatrical practice as a manifestation of cultural, societal and aesthetic concerns. Teaching methods include, but are not limited to, lecture, large / small group discussion and activities, presentations, video/slide viewing, and practical application of ideas.

REQUIRED TEXT: History of the Theatre by Oscar Brockett, 9th ed. (Preface; Chapters 9-24) Stages of Drama 5th ed. Carl H. Klaus, Miriam Gilbert and Bradford Fields, Jr. Supplemental readings will be required COURSE OBJECTIVES: GENERAL: To acquaint you with a background of theatre history and dramatic literature from 1700 to the present. (MoSTEP 1.2.1.1)

SPECIFIC: 1. To introduce major figures, events, ideas, plays, technologies and conventions. (MoSTEP 1.2.1.1) 2. To enhance your understanding of issues and events that affect change in practice as well as reflect the society in which they occurred. (MoSTEP 1.2.1.1) 3. To expand your comprehension of how society and theatre influence each other. 4. To develop your critical and interpretive skills as an historian. (MoSTEP 1.2.1.1) 5. To prepare you to integrate and apply the substance of other theatre courses and production techniques into more effective theatrical practice. (MoSTEP 1.2.1.1) (MoSTEP 1.2.5.1) 6. To magnify your aspirations for further study and appreciation of the arts and crafts of theatre. (MoSTEP 1.2.1.1)

This course is a requirement of the B.S.E. Speech Communication and Theatre Program. Therefore it is designed to meet the Missouri Standards for Teacher Education Program (MoSTEP) Quality indicators 1.2.1.1, 1.2.5.2, and 1.2.7.1.

Conceptual Framework:

Belief Statement The Central educator is a competent, caring, reflective practitioner committed to the premise that all can learn.

Mission As a cornerstone of the institution for over 130 years, the University of Central Missouri's Teacher Education Program shapes teachers and other school professionals who are well grounded in theory, display competence in content knowledge and instructional strategies, and possess the dispositions to ensure success for all learners. The Teacher Education Program prepares individuals as professional educators for an ever-changing, culturally diverse population. Faculty and candidates provide support and service to schools in meeting their present and future challenges by developing communities that learn through research and scholarly activities. Educator preparation is a campus-wide responsibility, a commitment that reflects the honor and worth of serving a vital profession. Vision Through a dedication to teaching, scholarship, collaboration, and outreach, the University of Central Missouri's Professional Education Faculty prepare school professionals who have high expectations for P-12 student learning, are informed decision makers, and value diversity. The UCM Teacher Education Program provides each graduate with a foundation for a life of continued learning and professional engagement.

INTENDED STUDENT OUTCOMES IN THEATRE: The following departmental intended student outcomes will be developed, practiced, and/or assessed in this course. A complete listing of the seven Theatre Department intended student outcomes is published in the departmental student handbook.

#1 You should be able to communicate and collaborate effectively in the interactive and creative process of theatre. (MoSTEP 1.2.1.1) (MoSTEP 1.2.7.1) -Identify the common elements and vocabulary of theatre and of the interaction of these elements -Think, speak and write clearly in order to communicate one's views effectively -Work effectively in team assignments, interacting productively with individuals from diverse areas of knowledge and skill #2 In preparation for careers within a global society, you should demonstrate a working knowledge of the historical, cultural, and stylistic dimensions of drama and theatre. (MoSTEP 1.2.1.1) -Identify and describe the major theatrical developments in various historical periods -Relate the theatre and dramatic arts to the social, political and religious history of each theatrical period -Identify major playwrights, actors, directors, designers and other theatre practitioners from various periods -Recognize the structure, style, substance, language, and historical importance of plays that are representative of the development of theatre and drama in world cultures -Place works of theatre in historical and stylistic contexts -Utilize the skills and techniques needed to conduct research into the culture, history, and style of a particular period or genre #3 You should be able to utilize critical thinking skills in order to analyze and interpret a script for the purpose of developing a concept and systematic plan for the production of a play. (MoSTEP 1.2.1.1) -Identify a theme and explain how that theme ties together the major elements of the text -Analyze each character and the character's relationship to all the other characters in the text -Analyze the language characteristics of the script as they relate to character, rhythm, and style -Analyze the structure, action, motivational units, and beats within the script #4 You should be able to form, communicate, and defend value judgments about quality and aesthetics in works of theatre. (MoSTEP 1.2.1.1) (MoSTEP 1.2.7.1) -Apply dramatic theory and criticism to assess theatrical works of art -Apply performance or production analysis to assess theatrical works of art -Evaluate contemporary value judgments related to theatre and other arts -Apply developing aesthetic values by attending academic and professional theatre and arts events

COURSE REQUIREMENTS: Additional information for each assignment will be provided. 1. You are responsible for all reading and written assignments on appropriate due dates. 2. You are expected to participate in and/or lead class discussions, activities, and exercises. 3. You will participate in two group research projects for presentation to the class. 4. You will take four comprehensive exams. 5. You will attend TWO of the UCM Spring mainstage productions and develop an historical archival collage of ONE production. THERE IS A FEE TO ATTEND THESE PRODUCTIONS. You may volunteer to usher for a performance and attend for free. Watch the callboard! Proof February 17-23 AND Much Ado About Nothing March 30-April 3 6. You will create a play file card for each of the 15 plays read for class. 7. You will present information and lead the discussion for one play read for class. 8. You will write two literary essays in conjunction with plays read for class. GRADUATE STUDENTS: In Addition: 9. You will be required to research and write a ten to twelve page research paper. 10. You will present your research to the class.

ATTENDANCE: Attendance in class is mandatory. Participation, discussion and rehearsal are an integral part of this course. You are required to be prepared for and be an active participant in class. Five points will be deducted from your semester grade for each unexcused absence beyond three. Two unexcused late arrivals will equal one unexcused absence. Documentation for excused absences will be required. (See Undergraduate Catalogue for appropriate excused absences.) In the event of an excused absence, you remain responsible for: 1) contacting me immediately and 2) all work missed, including rescheduling projects, make-up assignments, etc. All absent students are expected to get proper notes, information, announcements, etc., from class members who were in attendance.

EXAMINATIONS: All exams will be announced. They can/will consist of identifications, short answers, and/or essays. If you are absent the day of an exam, you will receive a “0” for that test. There will be no make-up exams given without a documented excuse.

ASSIGNMENTS: ALL ASSIGNED WORK (written and oral) MUST BE HANDED IN ON TIME OR IT WILL NOT BE ACCEPTED. All written work MUST BE TYPED or it will not be accepted. All papers should be free of grammatical and typographical errors. The grade of the paper will suffer if it is not properly proofread. For your own protection, be sure to make copies of everything you turn in.

Class Presentations: You will do a variety of presentations for the class. Some will be graded (group projects/collage study/play presentations/research paper) and some will be considered homework/in-class work (reporting on topics, chapters, theories, etc.). It is expected that you will be prepared, organized and thorough in your presentations. Plan on practicing them at least once outside of class to ensure that you adhere to all the strictures (i.e. time limits, etc.) of the assignment. Feel free to be as creative as you want to be in the style(s) of your presentations.

Group Research Projects: You will be assigned and graded IN GROUPS. Your group will present research to the class about a selected aspect of theatre/cultural history. Topics must examine an aspect of theatre history not fully covered in class. Specificity and thoroughness is key. I must approve the topic before the project begins. Suggested topics include: theatre architecture, theatrical design, dramatic literature, acting/directing styles, dance, music, visual arts, dramatic theory, political/cultural influences, etc. Presentations will be 15 minutes long. Be CREATIVE: perform, demonstrate, build models, use visual/aural aids, play music, bring food, make class characters, etc. These will be scheduled according to topics at the beginning of the semester.

Play File and Presentations: You will develop a card file for each of the plays read for class. In small groups, you will be responsible for researching and presenting background information and leading class discussion on ONE play read in class. Your presentation will consist of information about the playwright, a discussion of the play's structure/themes/concepts, an assessment of how the play was presented and received in its original time period and how it reflects the society in which it was written. Discussion questions will be written and distributed the day before the play is due. Presentation and class discussion will run about 20 minutes. These will be scheduled at the beginning of the semester.

Literature Essays: You will write TWO 3-4 page essays that examine themes, understandings, comparisons, historical significance, and/or authorial intent from the plays read for class. Each essay must be double spaced, use 12 pt font, have 1" margins and include parenthetical documentation (AKA footnotes) and a Works Consulted (AKA bibliography). See MLA Handbook For Writers Of Research Papers / Joseph Gibaldi. (PE1478 M57 1999) for more formatting information. Internet sources are NOT APRROPRIATE for use in the second essay. I strongly encourage you to utilize the services of the Writing Lab located in Humphreys 116. They can help you develop your ideas, organize your paper, offer advice on the technical aspects of writing, etc.

Production Attendance/Artifact Collage: You will develop an historical archival collage from the documentation of the UCM spring mainstage productions. This must include both primary and secondary source materials (prompt book pages, actor/director scripts, programs, interviews, photos, reviews, responses, audio/video, etc.).

GRADUATE STUDENTS: Research Paper: You will write a substantial 10-12 page research paper on a topic of your choosing from the periods studied in class. This paper should merit submission to a national theatre organization for presentation or to a scholarly journal. You will do a 10 minute presentation of your paper for the class. I must approve your topic before you begin. A research paper is a carefully constructed presentation of ideas that relies on primary and secondary sources for clarification and verification to support YOUR statements, theories and ideas. The paper must be double spaced, use 12 pt font, have 1" margins and include parenthetical documentation (AKA footnotes) and a Works Consulted (AKA bibliography). See MLA Handbook For Writers Of Research Papers / Joseph Gibaldi. (PE1478 M57 1999) for more formatting information. Thesis statement and bibliographic list will be due 2/9; a draft of the paper will be due 3/12; the final paper will be due 4/23. Your grade will reflect: 20 pts for thesis/bibliography; 45 pts for the first draft; and 35 pts for the final copy (total: 100 pts). The bib, draft and final copy MUST be turned in together.

POLICIES: This course adheres to all university policies and regulations as published in the UCM 2001-2002 Calendar/Handbook, including the Academic Honesty policy. Review your handbook!

The Central Community Creed will be a cornerstone for this course. We will join in building a learning, open, caring, just, disciplined, celebrative and purposeful classroom environment while learning together about theatre history and literature, each other and ourselves.

No gum chewing, drinking or eating is allowed in class. Please be respectful of our working space.

No extra credit will be given to any student.

EVALUATION: Points: 1. Class attendance, disc, partic, and activities. 30pts. 2. Exams. (3 @ 50pts ea; final @ 75pts) 225pts. 3. Group research projects. (2@25pts) 50pts. 4 4. Production attendance/artifact collage. (1@25pts) 25pts. 5 5. Play File/Presentation (present@25 pts; file@ 5pts ea) 100pts. 6. Essays (1 @ 30pts; 1 @ 40pts) 70pts. ------TOTAL 500 points Undergraduate Scale: 500-450 pts. = A; 449-400 pts. = B; 399-350 pts. = C; 349-300 pts. = D; 299-0 pts. = F or 100%-90% = A; 89%-80% = B; 79%-70% = C; 69%-60% = D; 59%-0% = F

Graduate Scale: 7. Research Paper 100 pts ------TOTAL 600 points

600-540 pts. = A; 539-480 pts. = B; 479-420 pts. = C; 419-360 pts. = D; 359-0 pts. = F or 100%-90% = A; 89%-80% = B; 79%-70% = C; 69%-60% = D; 59%-0% = F HEA 4420 Theatre History and Literature II COURSE SCHEDULE – Spring 2009 (Subject to change)

ASSIGNMENTS DUE on day listed: M Jan 12 Introduction to the course/What is Theatre History? W Jan 14 Theatre History – Abridged View from Dawn until 1700 Preface pp. xi-xii F Jan 16 English Theatre – Culture & Practice Ch. 9 M Jan 19 No Class – Martin Luther King Jr Birthday W Jan 21 English Theatre – Practice & Plays School For Scandal file due F Jan 23 English Theatre - - Plays The Rover file Due

M Jan 26 English Theatre – Group Projects W Jan 28 Italy & France – Culture/Practice Ch 10 F Jan 30 Italy & France - Plays

M Feb 2 Italy & France – Group Projects W Feb 4 Northern Europe-Culture Ch. 11 F Feb 6 Northern Europe-Practice

M Feb 9 Northern Europe-Group Projects GRADUATE THESIS/BIB DUE W Feb 11 Exam I F Feb 13 Continental Europe-Early 19th – Culture Ch. 12

M Feb 16 Continental Europe-Early 19th – Practice/Plays Woycheck file due W Feb 18 Continental Europe - Group Projects See Proof F Feb 20 English Lang-Early 19th – Culture/Practice Ch. 13

M Feb 23 English Lang-Early 19th – Culture/Practice W Feb 25 English Lang-Early 19th – Group Projects F Feb 27 Late 19th Century Europe and US Ch 14 &15

M Mar 1 Late 19th Century Europe and US – Practice/Plays W Mar 3 Late 19th Century Europe and US – Group Projects F Mar 5 Exam II

M Mar 8 Modern Realism and Alternatives – Practice Ch 16&17 W Mar 10 Realism/Alternatives Theatre – Practice/Plays Cherry Orchard file due Shadow of the Glenn file due F Mar 12 Realism/Alternatives – Group Projects GRADUATE 1ST DRAFT DUE

M Mar 15 SPRING BREAK W Mar 17 SPRING BREAK F Mar 19 SPRING BREAK

M Mar 22 Early 20th Cent – Culture/Practice Ch. 18 &19; Essay I due W Mar 24 Early 20th Cent – Practice /Plays Galileo file due F Mar 26 Early 20th Cent – Practice/Plays Homecoming file due

M Mar 29 Early 20th Cent – Group Projects W Mar 31 Exam III See Much Ado About Nothing F Apr 2 Mid 20th Cent – Culture/Practice Ch. 20&21

M Apr 5 Mid 20th Cent – Plays Endgame & The Lesson file due W Apr 7 Mid 20th Cent - Group Projects F Apr 9 Late 20th Cent – Culture/Practice Ch. 22&23 M Apr 12 Late 20th Cent – Practice/Plays Angels in America file due W Apr 14 Late 20th Cent – Practice/Plays Fences file due F Apr 16 Late 20th Cent – Group Projects

M Apr 19 African Theatre – Nigeria Brocket pp 578-586 W Apr 21 African Theatre – Culture/Practice Death & King’s Horseman file due F Apr 23 Contemporary Theatre -Culture/Practice Ch. 24; GRADUATE FINAL DRAFT DUE

M Apr 26 Contemporary Theatre -Culture/Practice Essay II due W Apr 28 Contemporary Theatre –Practice/Plays Art file due How I Learned to Drive file due F April 30 Archival Project Due; Graduate Research Presentation

FINAL: 5/5 – Wednesday – 8:00-10:00am – YUMMY!

Survival Tips: *Stay on top of the readings & assignments - we move quickly. *TAKE NOTES from the chapters – outline them as you read for quick study later. (highlighting book chapters doesn’t help you learn material – you need to outline!) *Highlight YOUR outline notes during lectures and presentations – add what isn’t there! *Build concepts onto one another – nothing happens in a vacuum. *Create your own THEATRE HISTORY TIMELINE – to help with remembering dates from different countries. *Schedule your group projects and play presentations wisely- work early so you're not overloaded *Repeat – DON’T WAIT TILL LAST MINUTE TO DO YOUR GROUP PROJECTS! *Start you essays/research paper TODAY! Schedule weekly time to work *Grads - Start you research paper TODAY! Schedule weekly time to work *See me for topic narrowing hints for all projects *Use The Writing Room (308 Briggs Library) for help *Consider forming a study group to read plays aloud, review for exams, bounce ideas off of, support your research, etc. This is the essence of theatre - that art and living overlap. Theodore Shank

The theatre historian is expected to reconstruct, both vividly and accurately, the conditions under which plays are first performed. Yet the very essence of the theatre is absolute transitoriness. A.M Negler

Who I am and what I say about historical figures and events are unrevokably intermingled. How could that surprise you? Sue-Ellen Case

For human beings, the environment is both an objective ecological condition AND a field of subjective experience. When man progressively creates a specific environment, history is made. Hermann Kilke

As an historian, I try to give the essential facts and to interpret them in the light of what others have written. Albert Hourani

History is the story of you and me! Barney