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Theatre 162: Play Analysis & Dramatic Literature

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Theatre 162: Play Analysis & Dramatic Literature Theatre 162.001 / 162.003: Play Analysis & Dramatic Literature Dr. Jason Davids Scott MWF 11:00 – 11:50 (Section 003) / 12:00 – 12:50 (Section 001) GFA 303 Fall 2011 Catalog description: Dramatic structure and literature for the theatre practitioner. Course overview: This course is intended as a basic introduction to dramatic structure. We will read a number of plays from a variety of periods, cultures, and genres, with a few basic questions in mind: What makes a play a play? How does a play work as theatre? How can we anticipate theatrical representation simply by reading a dramatic text? What are the common characteristics of all plays? (A list of program learning outcomes and student learning outcomes begin on page 9 of this syllabus). Contacting me: Office Hours: Wednesday 2:00 – 3:30 / Thursday 12:00 – 1:30 (or by appointment) E-mail: [email protected] Office: FA 222 Extension: 1119 Required texts: David Ball, Backwards & Forwards: A Technical Manual for Reading Plays. Southern Illinois University Press. Michael Greenwald, et al., eds., The Longman Anthology of Drama and Theater: A Global Perspective. Longman. There is some possibility that short readings will be added as the course progresses. These will be either handouts, reserve readings, or in the Longman Anthology. Grading: Quizzes: There will be THREE quizzes during the semester (September 26, October 17, November 21). They will be short, lasting approximately 20 minutes each. Quizzes will cover both terminology employed in the class and individual plays. 5 points each, 15 points total. Production commentaries: Students are required to see the Mainstage productions of The Rabbit Hole and A Midsummer Night’s Dream. A two-page commentary on the production is due at the class period immediately after each production closes. This is not a “thumbs up/thumbs down” performance review, but rather a commentary on the means by which structural and critical analyses are revealed in theatrical production. 5 points each, 10 points total. Group presentation: Students will be assigned to one of seven groups. Each group will be responsible for initiating and facilitating the first day’s discussion of one of the plays (beginning October 3) . Each student will receive two grades for this project: one group grade (5 points) and one individual grade (5 points): 10 points total. Critical Paper: Each student will submit a paper of approximately 1500 words (five pages) on or before class time Monday, December 7. Papers will employ the terms and concepts of the class to discuss any one play from the anthology other than those assigned for the class. Details will be forthcoming. 25 points: 5 for intro material due 11/28, 20 for final paper. Final exam: The comprehensive final exam will be on Monday, December 12 (11:00 AM section) or Wednesday, December 14 (12 noon section). Students will be responsible for all terms and concepts discussed in the course, for all plays assigned, and for the Mainstage productions (Rabbit Hole, A Midsummer Night’s Dream) AND the Downstage productions (The Saga of Cuchulain, Women and Wallace, The Love Talker, One for the Road). 20 points. Intangibles: Class participation, attendance, effort, improvement, etc. “Regular and punctual attendance” is required by university policy. Important: See the School of Theatre policy below. 20 points. Summary: Quizzes 15 Production commentaries 10 Group Presentation 10 Paper Intro Material 5 Final Paper 20 Final Exam 20 Attendance/Intangibles 20 TOTAL 100 Letter grades will be assigned on a standard 90/80/70/60 scale. Resubmissions: If you are not happy with your grade on a written assignment, then you may rewrite the paper. If you show improvement, you will receive a better grade. However, you must show improvement BEYOND simply correcting technical errors (spelling, grammar, etc.) I will be providing you with detailed notes on each assignment. If you are willing to put in a sincere effort to get a better grade, then I am certainly willing to help you make the best effort. For example, if you e-mail me introducing yourself by September 7, I will give you three points extra credit towards your final grade. Note: The above percentages assume passing grades on the paper and the final exam, a “D” average or better on the quizzes, and no more than three unexcused absences. I reserve the right to further lower the grade of any student who fails to meet all of these criteria. School of Theatre Attendance Policy: It is University policy to excuse students from class attendance for certain reasons related to health, family emergencies, student participation in certain University-sponsored events, theatre tours or working the Performing Arts Series, and other situations of similar importance. Excused absences from theatre classes will only be granted upon presentation of written documentation upon the first day of the student’s return from the teacher, sponsor, or physician involved. In the case of absences caused by University-sponsored events, inclusion in the University’s public listing of such absences will constitute an official excuse. It is the student’s responsibility to inform the instructor that he/she has scheduled the planned official absence. A total of . 10 excused and unexcused absences in Monday/Wednesday/Friday classes will [automatically] result in the student receiving a failing grade. Excessive unexcused and excused absences will affect your grade. The student will be allowed a maximum of . three unexcused absences in Monday/Wednesday/Friday classes. In the case of missed classes, the student will be held responsible for the successful completion of assigned work and/or projects. Miscellaneous but important notes: Expectations: This is university course, taken mostly by prospective majors. It involves a good deal of reading. Expect to spend two to three hours of work outside class for every hour in class. Part of the expectation of this course is that your writing level be appropriate to a university-level course in the humanities. If you are not confident of your writing ability, make arrangements now to take advantage of the university’s various writing assistance programs. Start with the Academic Assistance and Resource Center (AARC) on the first floor of Steen Library. PERFORMANCE SCHEDULE: Be sure you plan IN ADVANCE, particularly for the shows in the Downstage Theatre. Mainstage: Rabbit Hole: Tuesday, October 4 – Saturday, October 8 / 7:30 PM A Midsummer Night’s Dream: Tuesday, November 15 – Saturday, November 19 / 7:30 PM Downstage: The Saga of Cuchulain: Friday, September 23 – 7:30 PM / Saturday, September 24 – 2:00 PM and 7:30 PM Women and Wallace: Friday, October 14 – 7:30 PM / Saturday, October 15 – 2:00 PM and 7:30 PM The Love Talker: Friday, October 28 – 7:30 PM / Saturday, October 29 – 2:00 PM and 7:30 PM One for the Road: Friday, December 2 – 7:30 PM / Saturday, December 3 – 2:00 PM and 7:30 PM Class schedule: Attendance and promptness are expected. Please have the reading done on the day indicated BEFORE class. BRING YOUR TEXTBOOK TO EVERY CLASS SESSION. WEEK ONE M 8/29 NO CLASS: Theatre Auditions. W 8/31 Course overview and introductions. F 9/2 Theatre, drama, story-telling, etc. Read Longman Chapter One (3-16). WEEK TWO M 9/5 NO CLASS: Labor Day W 9/7 Introduction to dramatic structure. Read Longman Chapter Two (33-65) (Pay particular attention to the section by Aristotle; you do NOT need to read the “Forum” or “Spotlight” sections on pages 37, 54, or 56-60.) F 9/9 Beginning to apply structural analysis Doing research in the digital age WEEK THREE M 9/12 Read and Discuss Oedipus the King (Longman, 132-156) W 9/14 Discussion of Oedipus F 9/16 Applying the elements of Greek Tragedy WEEK FOUR M 9/19 Read and discuss Hamlet, Prince of Denmark (Longman, 523-584) Read Backwards &Forwards, chapters 1-7. W 9/21 Discuss Hamlet. Read Backwards &Forwards, chapters 8-12. F 9/23 Hamlet wrap-up. Group Presentations Assigned. Attend production of The Saga of Cuchulain (Downstage) – 9/23 or 9/24 WEEK FIVE M 9/26 Quiz #1: Classical tragedy and dramatic structure Introduction to realism and its variations. Read “Realism and Naturalism” (Longman, 832-844, skip “Forum” 837-840) and “Preface to Miss Julie” (Longman, 920-926) W 9/28 Read and discuss A Doll’s House (Longman, 851-882) F 9/30 Discuss A Doll’s House WEEK SIX M 10/3 Read Death of a Salesman (Longman, 1159-1201, including Arthur Miller’s “Tragedy and the Common Man”) GROUP ONE presents W 10/5 Discuss Death of a Salesman F 10/7 Discuss Death of a Salesman Attend production of Rabbit Hole (Mainstage) 10/4 – 10/8 WEEK SEVEN M 10/10 Rabbit Hole Discussion PRODUCTION RESPONSE PAPER DUE (Rabbit Hole) W 10/12 Read and discuss Fences (Longman, 1388-1415) GROUP TWO presents F 10/14 Discuss Fences Attend production of Women and Wallace (Downstage), 10/14-15 WEEK EIGHT M 10/17 Quiz #2: Realism and variations Introduction to Comedy Read and discuss Master Pierre Pathelin (Longman, 16-30) W 10/19 Read A Midsummer Night’s Dream (Longman, 476-513) GROUP THREE presents F 10/21 Discuss A Midsummer Night’s Dream WEEK NINE M 10/24 Discuss A Midsummer Night’s Dream W 10/26 Open discussion day: Page vs. Stage (vs. Screen) Read Longman Chapter Three (67-102; you may skim the “Forum” sections) F 10/28 Introduction to non-realism and contemporary theatre. Read Longman Chapter Nine (1453-1464) Attend production of The Love Talker (Downstage), 10/28-29 WEEK TEN M 10/31 Read and discuss Six Characters in Search of an Author (Longman, 1466-1490) GROUP FOUR presents W 11/2 Discuss Six Characters in Search of an Author F 11/4 Discuss Six Characters in Search of an Author (Professor Scott will be absent on this day) WEEK ELEVEN M 11/7 Read “Expressionism and the Epic Theatre” (Longman, 1094-1098) and The Hairy Ape (Longman, 1099-1119) GROUP FIVE presents W 11/9 Discuss The Hairy Ape F 11/11 Discuss The Hairy Ape WEEK TWELVE M 11/14 Read The Good Woman of Setzuan (Longman, 1121-1154) GROUP SIX presents W 11/16 Discuss Good Woman F 11/18 Discuss Good Woman Attend production of A Midsummer Night’s Dream (Mainstage), 11/15–19 WEEK THIRTEEN M 11/21 A Midsummer Night’s Dream production discussion.
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