THE 225 Course Syllabus

Total Page：16

File Type：pdf, Size：1020Kb

Syllabus THE 225 Theatre History: Romantics to Contemporary General Information Date February 1st, 2019 Author Beth Johnson Department Visual and Performing Arts Course Prefix THE Course Number 225 Course Title Theatre History: Romantics to Contemporary Course Information Credit Hours 3 Lecture Contact Hours 3 Lab Contact Hours 0 Other Contact Hours 0 Catalog Description This course surveys the development of theatre from the late 18th century to the present within its social, political and economic context. Theatre architecture, theatre technology, design concepts, acting styles, and significant dramatic works will be explored. The course also includes the discussion of theatre traditions of non-Western cultures. Key Assessment This course contains a Key Assessment for the programs Prerequisites ENG 101 Co-requisites None Grading Scheme Letter First Year Experience/Capstone Designation This course DOES NOT satisfy the outcomes applicable for status as a FYE or Capstone. SUNY General Education This course is designated as satisfying a requirement in the following SUNY Gen Ed categories Humanities Other World Civilizations FLCC Values February 1st, 2019 11:25 am 1/3 Institutional Learning Outcomes Addressed by the Course Inquiry Interconnectedness Course Learning Outcomes Course Learning Outcomes 1. Identify the production styles and historical contexts of the major periods of Eastern and Western theatre history from the 1800s to the present. 2. Relate works of literature to both their socio-economic and historical context, and to the available theatre technology, architecture, and production elements. 3. Present on a modern theatrical movement such as Naturalism, Symbolism, Futurism, Surrealism, Expressionism, etc.... 4. Trace shifts in production through different theatrical periods and/or styles in order to present their findings to a classroom audience. Program Affiliation This course is required as a core program course in the following program AA Liberal Arts and Sciences - Theatre Outline of Topics Covered Continental Europe in the early 19th century English language theatre in the early 19th century English language theatre in the late 19th century Continental European and Latin American theatre in the late 19th century The beginnings of modern Realism Read Realism Modern Alternatives to Realism Read alternative style drama or comedy Twentieth Century Theatre between the wars Read Expressionism Continental European and Latin American theatre in the mid-20th century Read Theatre of the Absurd English language theatre in the mid-20th century Read representative play ex. Maeia Irene,Forne’s Fefu and Her Friends. Theatre of Africa Read African Drama Continental European and Latin American Theatre in the late 20th century February 1st, 2019 11:25 am 2/3 Read Epic Theatre English Language theatre in the late 20th century Read representative play (for example Caryl Churchill’s Cloud 9) Contemporary Theatre Read representative play (for example Suzan-Lori Parks Topdog/Underdog) February 1st, 2019 11:25 am 3/3.

Copy Link

Recommended publications

Blurred Lines Between Role and Reality: a Phenomenological Study of Acting
Antioch University AURA - Antioch University Repository and Archive Student & Alumni Scholarship, including Dissertations & Theses Dissertations & Theses 2019 Blurred Lines Between Role and Reality: A Phenomenological Study of Acting Gregory Hyppolyte Brown Follow this and additional works at: https://aura.antioch.edu/etds Part of the Psychology Commons BLURRED LINES BETWEEN ROLE AND REALITY: A PHENOMENOLOGICAL STUDY OF ACTING A Dissertation Presented to the Faculty of Antioch University Santa Barbara In partial fulfillment of the requirements for the the degree of DOCTOR OF PSYCHOLOGY In CLINICAL PSYCHOLOGY by GREGORY HIPPOLYTE BROWN August 2019 This dissertation, by Gregory Hippolyte Brown, has been approved by the committee members signed below who recommend that it be accepted by the faculty of Antioch University Santa Barbara in partial fulfillment of requirements for the degree of DOCTOR OF PSYCHOLOGY Dissertation Committee: _________________________ Brett Kia-Keating, Ed.D. Chairperson __________________________ Sharleen O‘ Brien, Ph.D. Second Faculty __________________________ Thalia R. Goldstein, Ph.D. External Expert ii Copyright © 2019 Gregory Hippolyte Brown iii Abstract When an actor plays a character in a film, they try to connect with the emotions and behavioral patterns of the scripted character. There is an absence of literature regarding how a role influences an actor’s life before, during, and after film production. This study examined how acting roles might influence an actor during times on set shooting a movie or television series as well as their personal life after the filming is finished. Additionally the study considered the psychological impact of embodying a role, and whether or not an actor ever has the feeling that the performed character has independent agency over the actor.
[Show full text]
Tragedy, Realism, Skepticism
Tragedy, Realism, Skepticism BENJAMIN MANGRUM Many current accounts of the relationship between tragedy and modern realism present these generic traditions as not only distinct but even rigidly opposed. Critics who trace the advent of modern realism — most often through the rise of the novel — have maintained that its origins lie in the development of the middle class, the transformation of the medieval romance, the global dissemination of European civilization, or the consolidation of bourgeois ideology and subjectivity (see McKeon 2002, 52 – 63; Davidson 2004, 73 – 100; Azim 1993; Viswanathan 1989, 23 – 44). In these literary histories, the generic formation of the realist novel is the antithesis to the history of “tragic” literary forms. Indeed, the cursory dif- ference between a lengthy (prose) narrative and a concentrated (poetic) drama masks a host of tensions. The novel narrativizes middle-class values, whereas tragedies stage the fall of aristocratic or “great” houses; the realist novel purport- edly democratizes literature, while tragedies regularly presuppose some form of antipathy toward the mundane or lower classes (see Aristotle 1999, 35); a “real- ist” or secular view of history underlies the novel, while tragedy seems to enfold human agency within the forces of divine fate;1 the novel protracts drama across time, whereas tragedy intensifies it into momentous events;2 the novel is con- cerned with subjectivity (see Armstrong 2006), while tragedy explores the dis- solution of the individual, the doxastic wisdom of the chorus, or the demands of 1. In The Historical Novel (1983), Georg Lukács situates the works of Sir Walter Scott within the production of bourgeois consciousness and a view of history that contrasts sharply with its precursors, the epic and tragedy.
[Show full text]
Course Outline
Degree Applicable Glendale Community College April, 2003 COURSE OUTLINE Theatre Arts 163 Acting Styles Workshop in Contemporary Theatre Production I. Catalog Statement Theatre Arts 163 is a workshop in acting styles designed to support contemporary theatre production. The students enrolled in this course will be formed into a company to present contemporary plays as a part of the season in the Theatre Arts Department at Glendale Community College. Each student will be assigned projects in accordance with his or her interests and talents. The projects will involve some phase of theatrical production as it relates to performance skills in the style of Contemporary World Theatre. Included will be current or recent successful stage play scripts from Broadway, Off-Broadway, West-end London, and other world theatre centers and date back to the style changes in realism in the mid-to-late 1950’s. The rehearsal laboratory consists of 10-15 hours per week. Units -- 1.0 – 3.0 Lecture Hours -- 1.0 Total Laboratory Hours -- 3.0 – 9.0 (Faculty Laboratory Hours -- 3.0 – 9.0 + Student Laboratory Hours -- 0.0 = 3.0 – 9.0 Total Laboratory Hours) Prerequisite Skills: None Note: This course may be taken 4 times; a maximum of 12 units may be earned. II. Course Entry Expectations Skills Expectations: Reading 5; Writing 5; Listening-Speaking 5; Math 1. III. Course Exit Standards Upon successful completion of the required course work, the student will be able to: 1. recognize the professional responsibilities of a producing group associated with the audition, preparation, and performance of a theatre production before a paying, public audience; 2.
[Show full text]
The Role of Stanislavsky and the Moscow Art Theatre's 1923 And
CULTURAL EXCHANGE: THE ROLE OF STANISLAVSKY AND THE MOSCOW ART THEATRE’S 1923 AND1924 AMERICAN TOURS Cassandra M. Brooks, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Olga Velikanova, Major Professor Richard Golden, Committee Member Guy Chet, Committee Member Richard B. McCaslin, Chair of the Department of History Mark Wardell, Dean of the Toulouse Graduate School Brooks, Cassandra M. Cultural Exchange: The Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours. Master of Arts (History), August 2014, 105 pp., bibliography, 43 titles. The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge.
[Show full text]
Theatre and Drama of Socialist Realism in the Context of Cryptotexts (Based on Mkis and Wukppiw Material)
ACTA UNIVERSITATIS LODZIENSIS FOLIA LITTERARIA POLONICA 7(37) 2016 http://dx.doi.org/10.18778/1505-9057.37.06 Anna Wiśniewska-Grabarczyk* Theatre and Drama of Socialist Realism in the Context of Cryptotexts (Based on MKiS and WUKPPiW Material) The goal of the article is to discuss cryptotexts1 created in Poland during Socialist realism. The study covers documents developed by the Ministry of Cul- ture and Arts (MKiS) and the Voivodship Control Bureau for Press, Publications and Performances (WUKPPiW) in Poznań in 1949–54 discussing the methods of on-stage fulfilment of plays and dramatic works designed for younger audiences. Polish literature in the context of cryptotexts2 In the People’s Republic, all cultural texts3 which were to be released into official circulation4 were evaluated by state officers. In the majority of cases they were secret in nature and had an intentionally limited distribution which is why * Mgr, e-mail: [email protected], Chair of Polish Literature of the 20th and 21st Century, In- stitute of Polish Philology, Faculty of Philology, University of Lodz, 90-236 Łódź, ul. Pomorska 171/173. 1 Cryptotexts are defined as secret texts with deliberately limited circulation. I offer a more ex- tensive characterisation of this type of work in an article entitled Recenzja cenzorska Polski Ludowej, “Zagadnienia Rodzajów Literackich” 2016, issue 59 (117), vol. 1, pp. 97–103; cf. also footnote 5. The definition of censorship review is given in my articleSegment streszczający recenzji cenzorskiej (na materiale GUKPPiW z roku 1950), “Socjolingwistyka” 2016, issue 1 (30), pp. 278–288. 2 The title of this chapter refers to the classic text by Ryszard Nycz entitled Literatura polska w cieniu cenzury [Polish literature in the shadow of censorship], “Teksty Drugie” 1998, issue 3 (51), p.
[Show full text]
Hanson Brings Realism to Theater Productions
Friday, February 3, 2012 — www.theintelligencer.com Page 3 Regional Hanson brings realism to theater productions While most audiences pay attention only to the actors in theatrical productions, the Aldemaro Romero fact of the matter is that there is a con- tingent of people who work behind the College Talk scenes in order to make the performances a success. Some of these people design always look the same as they did on open- the costumes. One costume designer who ing night. “I like to say things have to is integral to the success of many per- be sewn like iron,” Hanson said. “For a formances at Southern Illinois University production say at the Rep or on Broadway Edwardsville is Laura Hanson. where things are going to run maybe for Born in Burbank, Calif., Hanson received years, there is a constant upkeep as well her bachelor’s degree in theater from St. as replacing of costumes.” There are ward- Louis University, her master’s in theater robe people whose job it is just to maintain arts also at St. Louis University and her costumes on these long-running shows, doctorate in educational theater at New she added. York University. With both of her parents Costume design is far from a lonely job. working as stage performers, her training Designers have to work not only with the in theater began early. director, but especially with the lighting “One of my favorite things to do was to designer regarding the type of light being go hang out with my mom in the dress- used or the angle of illumination.
[Show full text]
MARXISM and COMEDY by Max Apple
MARXISM AND COMEDY by Max Apple The "history of ideas" is one of the great obscenities in the Marxist vocab- tilary. For Marx, history is clearly the relationship of man and his available means of production. Ideas lead only to other ideas. History moves forward; the development of mankind, says the Marxist critic Lukics, "does not and cannot finally lead to nothing and nowhere."' This concept of the "end" of history is the wonder, the intellectualand emotional lure of Marxism. History has a purpose which has been subverted and disguised in the rhetoric of "Jesussaves," a rhetoric that promises the next world while this one is usurped by capital. Marxism promises this world, the only one; it translates "Christ died for you" into "history lives for you." Karl Marx is the Messiah of the industrial age. His doctrine in less than a century has already risen to chal- lenge the Christian West and its Crusades have scarcely begun. Yet, Marx's dream of a proletariat that would be free to read Aeschylus and enjoy the fruit of its labor was, from its political inception, debauched by the power struggle from which Lenin emerged. The messianic hope of Marxism has been somnolent through fifty years of Soviet Communism, but even more disturbing to the nineteenth century Marxist "world picture" are the indications that the industrial process may be moving toward an early obsolescence. In the nineteenth century a socialist could only look toward that rosy era when the workers would own the means of production; in the post- cybernetic age we will be faced with the far morc complex problems of how former workers are best able to use their emancipation from industrialism.
[Show full text]
History of Greek Theatre
HISTORY OF GREEK THEATRE Several hundred years before the birth of Christ, a theatre flourished, which to you and I would seem strange, but, had it not been for this Grecian Theatre, we would not have our tradition-rich, living theatre today. The ancient Greek theatre marks the First Golden Age of Theatre. GREEK AMPHITHEATRE- carved from a hillside, and seating thousands, it faced a circle, called orchestra (acting area) marked out on the ground. In the center of the circle was an altar (thymele), on which a ritualistic goat was sacrificed (tragos- where the word tragedy comes from), signifying the start of the Dionysian festival. - across the circle from the audience was a changing house called a skene. From this comes our present day term, scene. This skene can also be used to represent a temple or home of a ruler. (sometime in the middle of the 5th century BC) DIONYSIAN FESTIVAL- (named after Dionysis, god of wine and fertility) This festival, held in the Spring, was a procession of singers and musicians performing a combination of worship and musical revue inside the circle. **Women were not allowed to act. Men played these parts wearing masks. **There was also no set scenery. A- In time, the tradition was refined as poets and other Greek states composed plays recounting the deeds of the gods or heroes. B- As the form and content of the drama became more elaborate, so did the physical theatre itself. 1- The skene grow in size- actors could change costumes and robes to assume new roles or indicate a change in the same character’s mood.
[Show full text]
20Th Century Drama Extravaganza of the Modern Theatre, As It Was a "Realistic Critique Couched in Terms of Mock-Heroic Fantasy9'(Gassner: 366)
UNIT 5 DEVELOPMENTS IN 20thCENTURY DRAMA Structure 5.0 Objectrves 5.1 Introduction 5.2. Modern Drama 5.2.1 Ibsen 5.2.2 August Strindberg 5.2 3 Anton Chekhov 5.2.4 J.M. Synge 5.2.5 George Bernard Shaw 5.2.6 W. B. Yeats 5.2 7 Luig~Pirandello 5.2.8 Garcia Lorca 5.3 Mid-Century Theatre 5.3.1 Bertolt Brecht 5.3.2 Samuel Beckett 5.4 American Dramatists 5.4.1 Eugene 0' Neill 5.4.2 Tennessee Willianls 5.4.3 Arthur Miller 5.5 Recent Drama 5.5.1 John Arden 5.5.2 Arnold Wesker 5.5.3 Harold Pinter 5.5.4 John Osborne 5.5.5 Edward Bond 5.5.6 Caryl Churchill 5.6 Sorne Other Dramatists 5.6.1 Jean Paul Sartre 5.6.2 Jean Giraudoux 5.6.3 Jean k~ouilh 5.6.4 Gerhart Hauptrnann 5.6.5 Freidrich Duerrenmatt 5.7 Let Us Sum Up 5.8 Exercise 5.9 Suggested Readings 5.1 0 Glossary 5.0 OBJECTIVES In this "nit you will be introduced to drarna written in the 20thcentury and its growth and development. The characteristic features of 20' century Drama and the important 3 6 dramatists of this period are also discussed in this unit. Tlie drama written arid perfor~iied iu tlie 20thcentury is by any standards a major achievenietit. There has been much innovation arid experime~itand this has been related to the growth and crisis of civilization. Tlie new movements in 20thcentury were influenced by liberty, equality and fraternity and the challenging attitude in Art and Life.
[Show full text]
Costume Design: Key Questions
Costume Design: Key Questions Costume designer and architect Gabriela Yiaxis worked with Whitechapel Gallery Children's Commission 2015 artist Rivane Neuenschwander on the exhibition The Name of Fear. Gabriela is an experienced freelance costume designer who works worldwide on feature films, advertisements, TV, fashion and music. In this resource she shares key questions and the process of taking a costume from script to screen. Rivane Neuenschwander: The Name of Fear 2015 Costume Design: Key Questions Costume designer Gabriela Yiaxis shares some of her key considerations when developing costumes for feature films. Think about how all of these questions effect what you see on screen, some of these questions can also be applied to developing costume for theatre, advertising campaigns and catwalk collections. Setting What is the story about? Is the film contemporary, futuristic, epic, period? Which exactly era? Does the storyline have a fantasy or realistic approach? How does the director wants to tell the story? Funny, realistic, surreal? Will the film be shot in black and white, sepia, colour? Who is the audience for the finished product? Costume Design: Key Questions Building a character Examples of questions you should ask yourself when they are not on a script . How old are they? Is the character rich or poor? What is their social status? Aristocracy, working class, middle class? What is the characters family background? Are they from a traditional family background, alternative family background, single parent household, grew up in care? What is the characters role in the story? Banker, waitress, doctor, athlete, writer, homeless, musician, salesman, criminal? Consider how the characters personality affects the costume.
[Show full text]
What Kind of Acting Students Are You Looking For?
FREQUENTLY ASKED QUESTIONS ACTOR TRAINING PROGRAM What kind of acting students are you looking for? We are interested in curious, passionate students who have the desire and ability to connect with the characters they play and an interest in telling stories that will affect an audience. We look for students who have the potential to benefit from training and will apply themselves to the work in their classes and rehearsals in a serious and committed way. What’s the difference between BFA and MFA training? BFA students take a series of Liberal Arts courses; MFA students take graduate seminars in a variety of topics related to theater. However, MFA and BFA students study and work together in studio classes (voice, movement, scene study, Alexander Technique, etc.) and projects. Our acting program is unique in this, and our students express that this diversity of perspective and experience is one of its great strengths. Whether you apply for a BFA or MFA is completely dependent on whether or not you have a Bachelor’s degree already: The Bachelor of Fine Arts degree is for students who have not previously completed a four-year degree. The Master of Fine Arts degree is for students who will have earned a four-year degree prior to enrolling at Juilliard. Each entering class of 18 is comprised of 8-10 BFA and 8-10 MFA students. Some BFA students are right out of high school. However, in any given year, we might have BFA students in their 30’s and MFA students who are 22 and right out of college.
[Show full text]
The Cambridge Introduction to American Literary Realism
The Cambridge Introduction to American Literary Realism PHILLIP J. BARRISH cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Tokyo, Mexico City Cambridge University Press Te Edinburgh Building, Cambridge CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521050104 © Cambridge University Press 2011 Tis publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2011 Printed in the United Kingdom at the University Press, Cambridge A catalogue record for this publication is available from the British Library Library of Congress Cataloguing in Publication data Barrish, Phillip. Te Cambridge introduction to American literary realism / Phillip J. Barrish. p. cm. – (Cambridge introductions to literature) Includes bibliographical references and index. ISBN 978-0-521-89769-3 (hardback) – ISBN 978-0-521-05010-4 (paperback) 1. American fction–19th century–History and criticism. 2. American fction–20th century–History and criticism. 3. Literature and society– United States–History–19th century. 4. Literature and society–United States– History–20th century. 5. Realism in literature. 6. Popular literature– United States–History and criticism. 7. National characteristics, American, in literature. I. Title. II. Series. PS374.R32B37 2011 810.9Ł1209034–dc23 2011028104 ISBN 978-0-521-89769-3 Hardback ISBN 978-0-521-05010-4 Paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.
[Show full text]