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Modern Drama in Theory and Practice

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Modern Drama in Theory and Practice Modern Drama in Theory and Practice English 2457 & Theater 2410 M/W, 11:30-1: Mass Hall, Faculty Room 302 F Lab 10-11:30: Memorial Hall, Studio 601 Instructors: Abigail Killeen(Theater) & Marilyn Reizbaum (English) Note: There are two synchronized syllabi for this course. This syllabus details assignments and expectations for the practice aspect of the class. Please see Professor Reizbaum’s syllabus for details on the theory aspect of the class. Students are responsible for assignments on both syllabi. Abigail Killeen Memorial Hall, 602 207-798-4172 [email protected] Office Hours: I encourage student meetings outside of class. I am on campus most days, but my schedule varies due to rehearsals and performances. Please email me and we will find a mutually convenient time. “So the actor must always be questioning his response to language – practicing it if you like. For words are the actor’s tools, as color and brush strokes are the painter’s, and we have to constantly be sharpening our focus on them to find new textures and colors.” Cecily Berry, The Actor and the Text Chekhov, Ibsen, Brecht and Beckett are undoubtedly the most influential playwrights of the 20th century. As both scholarly and performance texts, their plays have long presented challenges to scholars and theater artists alike. Yet scholars and theater artists rarely work together to benefit from the insights each approach can offer. In this 2000 level course, Marilyn Reizbaum and Abigail Killeen will co-present these several plays by each, as well as plays by more recent playwrights that one might call legacies of these foundational works (e.g., Caryl Churchill, Suzan-Lori Parks, and Martin McDonagh). All plays will be critically read and examined in theory and performance. Grading: The final grade for Modern Drama in Theory and Practice is a single letter grade that reflects the average of both the theory and practice assignments. Practice grades, outlined in this syllabus, are determined by quality of attendance, creative curiosity and exploration, and application of theory to performance in four areas: 1. Five One-Page Response Papers 2. One in-Class Performance, 3. Group Work in Assigned Labs, and 4. One Group Performance Experiment. Required Screenings: The Moscow Art Theatre’s production of The Cherry Orchard, Sills Screening Room, Sunday, January 29, 6pm. Vanya on 42nd Street is on reserve and must be viewed by the start of class on Wednesday, February 1. Portions of A Streetcar Named Desire during the scheduled lab period on Friday, March 31. Portions of A Raisin in the Sun during the scheduled lab period on Friday, April 7. Response Papers: Response Papers are due via email to Professor Killeen ([email protected]) when specified on the syllabus. They are one page in length and articulate the student’s response to various performance events. Prompts are provided. In-Class Performance: Students are required to perform one text as assigned in the syllabus. Each performance has private lab rehearsal(s) with Professor Killeen and will perform once for the class. Group Work in Assigned Labs: Attendance is required for group work in assigned labs. Each student will be expected to participate as a theater artist: valuing curiosity and exhibiting willingness and enthusiasm for the task at hand. Group Performance Experiment: Students will create one performance piece in assigned groups of 4 to be performed in class on May 10. Schedule: MJan23: Introduction WJan25: Chekhov, Uncle Vanya FJan27: No lab – screening on Sunday. SJan29: The Cherry Orchard screening, 6pm, Sills Screening Room. MJan30: Chekhov, Uncle Vanya (Annie Baker translation, Martin Puchner on Chekhov) WFeb1: Vanya on 42nd Street viewed by class time. Response Paper 1 due via email before 11:30am. FFeb3: Uncle Vanya performance rehearsal. Olivia and Aziza. MFeb6: Uncle Vanya performance. Olivia and Aziza. Begin Ibsen. WFeb8: Ibsen, A Doll’s House (A Doll’s House, Byrony Lavery translation, Ibsen’s “Notes on Modern Tragedy”) FFeb10: A Doll’s House performance rehearsal. Sophie and Mackenzie MFeb13: A Doll’s House performance. Sophie and Mackenzie WFeb15: Response Paper 2 due via email before 11:30am. Brecht. Benjamin and McGrath essays FFeb17: Performance Lab with Tina Satter. All students required to attend. MFeb20: Brecht, Good Woman of Setzuan WFeb22: Brecht, Good Woman of Setzuan FFeb24: Performance Lab: Clown Workshop. All students required to attend. MFeb27: Introduction to Theatre of the Absurd; Read Haney and Esslin, Artaud WMar1: Performance Lab: Read Act I, Waiting for Godot. All students required to attend. Beckett. FMar3: No lab. Response Paper 3 due via email by 11:30am. MMar6: Beckett, Waiting for Godot WMar8: View Not I in class SPRING BREAK MMar27: Williams, A Streetcar Named Desire WMar29: Williams, A Streetcar Named Desire FMar31: Performance screening: portions of A Streetcar Named Desire. All students required to attend. MApr3: Hansberry, A Raisin in the Sun WApr5: Hansberry, A Raisin in the Sun FApr7: Performance screening: portions of A Raisin in the Sun. All students required to attend. MApr10: Response Paper 4 due via email by 11:30am. Hansberry, A Raisin in the Sun WApr12: No class meeting FApr14: Performance rehearsal 1 for Cloud Nine. Eleanor, Sebastian, Amber, Sarah, Hide, Amina. MApr17: Churchill, Cloud Nine WApr19: Churchill, Cloud Nine FApr21: Performance rehearsal 2 for Cloud Nine. Eleanor, Sebastian, Amber, Sarah, Hide, Amina. MApr24: Cloud Nine performance. Eleanor, Sebastian, Amber, Sarah, Hide, Amina. Parks, Topdog/Underdog. FApr28: Performance rehearsal for Topdog/Underdog. Jae-Yeon and Eric MMay1: Topdog/Underdog performance. Jae-Yeon and Eric. Begin McDonagh, Lieutenant of Inishmore. WMay3: Response Paper 5 due via email by 11:30am. McDonagh, Lieutenant of Inishmore FMay5: Group Performance Experiment Rehearsal. All students required to attend. MMay8: McDonagh, Lieutenant of Inishmore WMay10: Group Performance Experiment. Further Details: Response Paper Prompts Response Paper 1: Consider your viewing of The Cherry Orchard and Vanya on 42nd Street. What surprised or delighted you about seeing the works performed? Where did you hit a wall? Be thoughtful and specific. Response Paper 2: What surprised or delighted you about seeing the short performances from Uncle Vanya and A Doll’s House? Where did you hit a wall? Articulate at least one specific performance moment that clarified or highlighted context and/or theory about the play. Response Paper 3: Articulate at least one performance moment you experienced and at least one performance moment you observed from the Tina Satter Workshop, the Clown Workshop, and/or rehearsing Act I of Waiting for Godot where the theories discussed about Brecht’s or Beckett’s work became clear to you in a new way. Response Paper 4: Some of the performances in this film version of A Streetcar Named Desire are reputed to be some of the most legendary captured, and referenced as a gold standard in acting classes. Why, do you suppose? Consider also the film adaptation of A Raisin in the Sun. What resonated with you in particular? Why? Be specific. Response Paper 5: What surprised or delighted you about seeing the short performances from Cloud Nine and Topdog/Underdog? Where did you hit a wall? Articulate at least one specific performance moment that clarified or highlighted context and/or theory about the play. In-Class Performance Expectations and Assignments Before your assigned lab rehearsal(s) - You have read and thoroughly understand the play and your character’s journey within the play. - You have an idea of what your character is in the scene to give, get or do to or from their scene partner After your lab assigned rehearsal(s) - You meet with your scene partner(s) at least twice for a rehearsal of 30-45 minutes Note: In-Class Performances are off-book Uncle Vanya: Aziza and Olivia. Rehearsing Feb 3 and performing Feb 6 A Doll’s House: Sophie and Mackenzie. Rehearsing Feb 10 and performing Feb 13 Cloud Nine: Eleanor, Sebastian, Amber, Sarah, Hide, Amina. Rehearsing Apr 14 and 21, performing April 24. Togdog/Underdog: Jae Yeon and Eric: Rehearsing April 28, performing May 1. Group Performance Experiment: Wednesday, May 10 Together with your assigned group discuss the plays we’ve performed and/or read this semester. Identify themes or points of view that interest you, informed by the class lectures and performances. Create a short performance piece that fleshes out those themes using the text from the plays we’ve read or performed. The performance piece should last longer than 5 minutes but not more than 10. This is the moment to take risks and reveal how performance informs and enhances intellectual thought – and vice versa. It’s a Group Performance Experiment. Immediately following your performance your group will lead a short discussion with the class detailing your performance process and articulating why you made the performance choices you did. The class will have the opportunity to ask questions, but don’t rely on questions to lead your discussion. Prepare your discussion, and be sure each member of your group participates. Class time on May 3 and the scheduled lab time on May 5 will be dedicated to rehearsal for this project. All students are required to attend. Your performance space is our classroom. You are free to use it in any configuration you wish. You are also free to use costumes or props, but you are responsible for securing what you need. I am available to support costume/prop endeavors, but arrangements must be made at least a week in advance. Group 1: Eleanor, Olivia, Eric, Amber Group 2: Amina, Mackenzie, Aziza, Sebastian Group 3: Sarah, Jae-Yeon, Sophie, Hide GRADING: The Performance 15 Points: Quality of performance, application of thought and theory, creative inquiry, curiosity, and performance risk, informed experimentation.
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