ACM LONDON: ARTS IN CONTEXT – Spring 2014 [Note: this is a preliminary syllabus, prepared during the summer and autumn months of 2012 and updated in spring 2013. It will be developed with a great deal more specificity nearer the spring term of 2014 as theatre bookings fall into place]

Course: Theatre in London: the Art of Adaptation

Instructor: Steven Marc Weiss, PhD Associate Professor of Theatre Arts Coe College, Cedar Rapids, Iowa e-mail: [email protected] phone:

Course Description:

This course will provide both an in-depth examination of the astonishing variety of theatre offerings available in London during each seven-week term and an equally penetrating look at the literary (or other) source materials that, directly or indirectly, inspired each production.

As we consider various ways in which most theatrical productions are developed—either based on other source material or on writers’ original ideas—our ongoing focus of study will be on the intertextuality between the page (drama) and the stage (theatre).

“Adaptation” is the key concept underlying the investigation, and the term will be broadly defined to include: (1) how playwrights sometimes adapt non-dramatic source materials (historical events, narrative fiction, etc.) into dramatic texts; (2) how theatre collaborators sometimes attempt to adapt for viable stage production dramatic source material from another medium (film, for instance); (3) how playwrights sometimes adapt existing, older playtexts to craft more contemporary “versions” of them; (4) how contemporary playwrights sometimes, either consciously or inadvertently, alter playtexts they “translate” from other languages; (5) how theatrical practitioners “translate” words on a page into action on the stage after carefully studying the texts for clues that will help them conceptualize and eventually actualize productions based on those clues; and (6) how playtexts are, by necessity, “adapted” by directors, designers and actors to “work” for the space(s) in which they are presented.

These six criteria are not mutually exclusive and any combination of them may coexist within a single theatrical production. We will search for signs of them in all of the theatre and drama we study.

Format:

There are two formal class sessions scheduled per week—one on Monday morning, and one in the afternoon, either on Thursday or Friday (TBA). Above and beyond that, we will attend on average two (or sometimes three) theatre productions each week; performance dates and times will vary according to ticket availability. We will, of course, make the obligatory pilgrimage to several West End productions, but we’ll also visit a variety of other venues—such as the Royal National Theatre, Shakespeare’s Globe, the Almeida Theatre, the Barbican Centre, the Donmar Warehouse and other “off-the-beaten-path” fringe spaces. When appropriate, we will take theatre tours (the National and the Globe, for instance) and I hope to arrange a theatre workshop at the Globe as well.

Additionally, once during the 7-week term, we will travel together to Stratford-upon-Avon for an overnight stay that will include attendance at two play performances by members of the Royal Shakespeare Company as well as tours of the Shakespeare properties.

Required Texts:

[Note: this section of the syllabus will be “fleshed out” as theatre bookings are solidified during the fall months of 2013.]

Hayman, Ronald. How to Read a Play. 1999 Revised edition. New York: Grove Press 1977.

Note: you will additionally be required to read as many of the plays we’ll be viewing during the 7-week term as is reasonable and practical; and, in the case of plays adapted from other literary works, some of the original source material may be assigned for additional reading. Stay tuned for more information on this. Reading:

There will be short, in-class quizzes on most, if not all, reading assignments—in part as a means of coercing follow- through on these reading assignments [full transparency, here] and, much more importantly, as a means of establishing topics for discussions related to the content of the readings.

Note that reading for this class is a requirement, not an option. Assigned readings should be completed before class time, as the readings form the basis of lectures and discussions, as well as questions on the quizzes. If you are not keeping up with reading assignments, then you are in effect not fulfilling an important requirement of this class. If you are reading in a cursory manner, without really paying attention to the content of what you read—i.e., without reading for comprehension and retention, then you are ultimately doing yourself a disservice.

You should never underestimate the importance of reading to develop your understanding of a subject, and to help you to “see” from different perspectives. Reading also helps you develop your skills as a writer. The more you read, the better you will be able to express yourself and articulate your thoughts, verbally and in writing. The more you read, the easier it becomes to understand complex argumentation and densely constructed prose.

Writing:

Writing assignments related to theatre events you experience constitute a major component of the workload for this course. Writing about theatre (stage productions of playtexts) can be somewhat more challenging than writing about drama (playtexts as literature), because it is extremely difficult while watching a performance to assess whether any given artistic choice was prescribed (i.e., dictated by the playwright) or interpreted (i.e., developed in rehearsal or performance by one or more of the creative team). And it is equally difficult to assess whether an interpretive artistic choice you observe was made by the actor(s) or by the director or even, in some instances, by the playwright, or (rarely, but conceivably) suggested by one of the designers. So, for instance, when writing about a particular actor’s performance, it is essential that you strive to make a distinction between the prescribed action (what the character does) and the interpreted action (how the actor specifically embodies what the character does). This is not an easy distinction to make, even for those of us who practice theatre on a regular basis. Yet, somehow, we must find a way to come to terms with this conundrum.

Early in the term, we will establish a shared vocabulary with regard to talking about artistic choices in theatrical production. We will then be in a better position to engage in strategies by which we can (1) distinguish between choices that are prescribed and those that are interpretive, (2) learn how to make the best possible educated guesses with regard to where any of those choices originated, and (3) assess the level of effectiveness of those choices vis-à-vis the expectations inherent in the playtext.

Writing Assignments:

While in London, each student will be expected to write a short (approximately 2 double-spaced pages) “response” paper for every production we attend as a group. A rubric for these papers will be provided in a separate handout at the start of the term. These can take the form of formal discursive essays or of more informal, “journal” entries. Either way, they will be assessed on depth of analytic perception and clarity of expression. Responses must be focused primarily on theatre practice, referring to the dramatic playtext as literature (drama) only insofar as it elucidates that practice; and they can be aimed at artistic choices related either to (1) acting, (2) directing (staging), or (3) design elements. Assuming attendance at 15 productions each half-semester term, your responses must be divided equally amongst these three options. Response papers based on each week’s viewings will be due at the start of the following Monday morning’s class session.

A longer (approximately 8-page) final paper will require you to select two or three of the plays you’ve both read and seen throughout the term and analyze in depth the connection between drama and theatre as it relates to those particular productions and, in particular, to the various notions regarding adaptation as we will have come to understand the term. This term paper, unlike the shorter responses, will require consultation with, and documentation of, primary and secondary source materials and a full bibliography of all works cited. Standard MLA style is to be employed for citations in all of your writing for this course. Consultation with library resources will be a necessary component of this course, and lending privileges will be made available to you (hopefully at the Senate House Library, which houses a large humanities collection in the heart of Bloomsbury, not far from your classroom).

Written assignments are to be submitted no later than the due date printed on the calendar page of your syllabus [to be included on the first day of class] unless otherwise noted by your instructor. Written assignments submitted after the due date will be ineligible for full credit, and will be subject to point-value deductions. Despite the commonly-held student belief that it is merely an unpleasant necessity of surviving the college experience, please consider that writing also is a legitimate form of self-expression, a forum for your ideas and a means of developing your critical thinking. You fully “own” your thoughts only when you can clearly articulate them, either verbally or in writing.

Participation:

Your participation grade is based on: (1) attendance, which is expected at all class meetings and scheduled performances (a) please note that personal travel is not considered a valid excuse for missing either a class session or a performance (2) preparedness (having done assigned reading and writing prior to each session); and (3) involvement (active contribution to group discussions and activities)

Instructor’s Policy on Absenteeism and Tardiness: • every unexcused absence will reduce your participation credit • two late arrivals (or early departures) will be counted as one unexcused absence  written work submitted after it is due will be subjected to grade reduction

Policy on Cellular Devices: Cellular communication devices may not be used in the classroom unless sanctioned by the instructor. This ban includes cell phones, Blackberries (and other messaging devices), and extends to I-pads, laptop computers, etc. Note taking in class must be done manually, in writing. If you carry a device in to the classroom with you, it is your responsibility to make certain that it is turned off at the start of every class session. Mobile phone interruptions are becoming a nuisance in every sector of our society, and they will not be tolerated in this class. Also, be certain to turn off your phone or blackberry as you enter a theatre to view any performance and, if you use your device during an interval, remember to turn it off again as you return to your seat.

Evaluation: final grading will be on point percentage, approximately distributed as follows:

Quizzes on Text Readings 20% Response Papers 25% Term Paper 25% Participation (including both classroom and play production attendance) 30%

Grading Criteria [grading in any fine arts course is never completely objective, so the following rubric will be applied]: A denotes work of an outstanding nature that exceeds course standards and reveals an intuitive understanding of the subject matter. B denotes work that is distinctly above-average in quality and thoroughness and reveals a mastery of the subject matter. C denotes work of a satisfactory nature in quality and thoroughness and reveals a basic understanding of the subject matter. D denotes work that is substandard in nature and reveals a limited understanding of the subject matter.