Semester at Sea Course Syllabus

SEMESTER AT SEA COURSE SYLLABUS

Voyage: Fall 2014 Discipline: Drama DRAM 3559: World Theatre and Performance Upper Division Faculty Name: Dr. Judith Williams

Pre-Requisites: None

COURSE DESCRIPTION: This course is designed as an introduction to traditional theatre, various performance forms, and the dramatic literature of a selection of world theatres indigenous to the countries we visit. Class discussions and readings will be supplemented by attendance at several live performances and meetings with international theatre practitioners while in port. Theatre will be studied in relation to its specific cultural context and importance. As a familiar reference, the semester will begin and end with American theatre. We will also explore how world theatre reflects its populations’ views on ethnicity, gender, sexuality, ageing, politics, and religion. In the last twenty years, computers have made a globalization of information available, previously only imagined. Will the future of theatre have a more homogeneous look or will theatre continue to have a strong and vital cultural context?

COURSE OBJECTIVES: 1. Close reading, analysis, and discussion of assigned plays and supplemental readings to expose students to the richness of the theatre and performance forms of selected world theatres.

2. See three live performances during the Field Assignments of the voyage and submit a 2 page critical analysis of each one noting the cultural and theatrical characteristics observed in these performances.

3. Demonstrate written ability to analyze and critique the Field Trip’s theatre production and experience. Be an active participant in discussions.

4. Explore our American theatre heritage and more fully understand our own theatrical traditions by comparing and contrasting them to those of the other countries on the itinerary of the voyage.

5. Awareness of the ways in which theatre records the great stories and struggles of mankind and reflects our world’s common humanity.

REQUIRED TEXTBOOKS AUTHOR: Lorraine Hansberry COST: $10.95 TITLE: A Raisin in the Sun AUTHOR: Anton Chekhov PUBLISHER: Samuel French TITLE: The Seagull ISBN #: 978-0451167293 PUBLISHER: Faber & Faber DATE/EDITION: June 1988 ISBN #: 978-0571192700 1

DATE/EDITION: August 30, 2001 ISBN #: 978-0811216029 COST: $10.79 DATE/EDITION: September 2004 COST: $8.50

AUTHOR: Bertolt Brecht AUTHOR: Moises Kaufman TITLE: The Three Penny Opera TITLE: The Laramie Project PUBLISHER: Penguin Classics PUBLISHER: Vintage ISBN #: 978-0143105169 ISBN #: 978-0375727191 DATE/EDITION: December 18, 2007 DATE/EDITION: September 11, 2001 / 1st COST: $8.44 Edition COST: $11.88 AUTHOR: Moliere TITLE: Tartuffe AUTHOR: John Pielmeier PUBLISHER: Signet Classics TITLE: Agnes of God ISBN #: 978-0451530332 PUBLISHER: Samuel French DATE/EDITION: January 2, 2007 ISBN #: 978-0573630224 COST: $7.50 DATE/EDITION: November 2, 2010 COST: $9.95

AUTHOR: Brian Friel AUTHOR: John Patrick Shanley TITLE: Dancing at Lughnasa TITLE: Doubt PUBLISHER: Faber & Faber PUBLISHER: Dramatists Play Service ISBN #: 978-0571144792 ISBN #: 978-0822222194 DATE/EDITION: December 30, 1998 DATE/EDITION: June 2007 / Acting COST: $10.41 Edition COST: $7.20 AUTHOR: Oscar Wilde TITLE: The Importance of Being Earnest AUTHOR: Paula Vogel PUBLISHER: Simon & Brown TITLE: How I Learned To Drive ISBN #: 978-1613823255 PUBLISHER: Dramatists Play Service DATE/EDITION: July 2013 ISBN #: 978-0822216230 COST: $9.49 DATE/EDITION: October 1, 1997 COST: $7.20 AUTHOR: Athol Fugard TITLE: The Road to Mecca AUTHOR: Eugene O’Neill PUBLISHER: Theatre Communications TITLE: A Moon for the Misbegotten Group PUBLISHER: Yale University Press ISBN #: 978-0930452797 ISBN #: 978-0300118155 DATE/EDITION: January 1, 1993 / 1st DATE/EDITION: August 28, 2006 / 1st Edition Edition COST: $10.36 COST: $11.01

AUTHOR: Tennessee Williams TITLE: A Streetcar Named Desire PUBLISHER: New Directions Paperback 2

AUTHOR: Neil Simon TITLE: Brighton Beach Memoirs PUBLISHER: Signet ISBN #: 978-0451163448 DATE/EDITION: November 1, 1995 / Reprint COST: $10.99

TOPICAL OUTLINE OF COURSE *Depart Southampton- August 23:

August 24: Orientation

A1- August 25: Introduction – American Theatre. Read Lorraine Hansberry’s A Raisin in the Sun for A2 and be prepared to discuss the play in terms of race, prejudice, family loyalty and money. Always bring the play script to class that we will discuss that day.

A2-August 27: Discuss A Raisin in the Sun. Active participation is required. Russian theatre, Constantin Stanislavski, and Anton Chekhov. Read Chekhov’s The Seagull and be prepared to discuss the play in terms of art vs. kitsch, competition for love, and suicide for A3. Assign play to be seen as Field Assignment in St. Petersburg and 2 page critical paper and ticket stub due A3.

St. Petersburg: August 29- September 2 – Be certain to journal each day in port. Note the specific cultural and theatrical characteristics of each port (country). Pay particular attention to your experiences related to theatre e.g. ticketed event, street theatre, puppetry, mime.

A3- September 3: Collect critical papers with ticket stubs. Briefly discuss the production seen. Possible quiz. Discuss The Seagull. Read Brecht’s The Three Penny Opera for discussion on A4 in terms of politics, romantic intrigue and crime.

A4- September 5: Discuss The Three Penny Opera and Epic Theatre. Assign play to be seen in Hamburg as a Field Assignment with 2 page critical paper and ticket stub due A5.

Hamburg: September 7-11

A5- September 12: Collect critical papers with ticket stub. Briefly discuss German production. Assign Moliere’s Tartuffe to be discussed in relation to religion, morality, and gullibility on A6. Assign play to be seen in Le Havre, France as a Field Assignment with ticket stub and 2 page critical paper due A6.

Antwerp: September 14-16 Le Havre: September 17-19

A6-September 20: Collect critical papers with ticket stub. Briefly discuss French production. Discussion of Moliere’s satire & Tartuffe. Read Brian Friel’s Dancing at Lughnasa for discussion in terms of religion (Christian and Pagan) and family for A7.

A7- September 22: Discuss Dancing at Lughnasa. Preparation for Field Trip – Irish playwrights, theatres, actors, directors, designers. Read Oscar Wilde’s The Importance of Being Earnest for discussion in terms of upper class sensibility, lies, and secrets for A8.

Dublin: September 24-27 – FIELD TRIP. Visit Abbey Theatre, backstage tour, talk with actor or director and see production. Remember to record your theatrical perceptions and observations in depth in your journal. A 4 page critical paper with ticket stub will be due on A9. Active participation in all aspects of Field Trip is required.

A8- September 28: Discuss Field Trip. Discuss The Importance of Being Earnest.

A9- September 30: Collect Field Trip 4 page papers and ticket stub. Discuss Fedrico Garcia Lorca’s Theatre of Repression. Prepare for Quiz.

Lisbon: October 1-2 In transit: October 3 Cadiz: October 4-5

A10- October 7: Quiz on assigned reading. Read Athol Fugard’s The Road to Mecca for discussion in terms of ageing, Afrikaner vs. English, and youth vs. age for A11.

Casablanca: October 8-11

A11-October 13: Discuss African Theatre and The Road to Mecca.

A12- October 15: Discuss Masks as a Cultural Phenomenon. Greeks, Eastern, Africa, Brazil… Workshop Masks. Read A Streetcar Named Desire for discussion in terms of the helpless female, the bully and the struggle for power for A13.

Dakar: October 16-19

A13- October 21: Discuss Streetcar. Read Moises Kaufman’s The Laramie Project for discussion in terms of intolerance, hatred, homosexuality and community for A14.

A14- October 23: Possible quiz. Discuss The Laramie Project. Read John Pielmeier’s Agnes of God for discussion in terms of saints, sinners, and psychiatry for A15.

Takoradi: October 25-26 Make particular note of any theatrical street or dance drama you Tema: October 27-28 may encounter as part of your journal entries.

A15- October 29: Discuss Agnes of God. Read Doubt by John Patrick Shanley for discussion in 4 terms of religion, morality, and race for A16.

A16- October 31: Discuss Doubt. Read Paula Vogel’s How I Learned to Drive for discussion in terms of adult responsibility and child abuse for A17.

Study Day: November 2

A17-November 3: Discuss How I Learned to Drive. Read Eugene O’Neill’s A Moon for the Misbegotten for discussion in terms of alcoholism, family, and love for A20.

A18- November 5: Discussion of Augusto Boal’s Brazilian Theatre of the Oppressed and Forum Theatre. Social issue improvisational theatre.

Rio de Janeiro: November 7-9 Make particular note of any theatrical street or dance drama In-transit: November 10-11 you may encounter as part of your journal entries. Salvador: November 12-14

A19- November 15: Improvisation Workshop focusing on social issues.

A20- November 17: Discuss A Moon for the Misbegotten. Read Neil Simon’s Brighton Beach Memoirs for discussion in terms of family solidarity amidst global uncertainty for A21.

Study Day: November 19

A21-November 20: Possible quiz. Discuss Brighton Beach.

Bridgetown: November 22-24

A22-November 25: Experiential workshop TBA

A23- November 27: Review for Exam covering assigned plays, handouts, and lecture discussions.

Havana: November 29- December 2:

Study Day- December 3

A24-December 4 (A Day Finals): Final Exam

FIELD WORK Field lab attendance is mandatory for all students enrolled in this course. Please do not book individual travel plans or a Semester at Sea sponsored trip on the day of our field lab.

FIELD WORK Field lab attendance is mandatory for all students enrolled in this course. Please do not book individual travel plans or a Semester at Sea sponsored trip on the day of our field lab. 5

FIELD LAB (At least 20 percent of the contact hours for each course, to be led by the instructor.) To complete the field study requirements, students will be required to attend a theatrical performance and discussion with a performing artist from the production during the voyage.

FIELD ASSIGNMENTS – There will be three required theatre performances arranged by the instructor in addition to the Field Lab. Students will keep a field journal with a collection of their observations, research and reactions to the performances they view. Journal entries will also be guided by general and show specific questions provided by the instructor. Students will be graded based upon their participation in the lab, their field journal, and short, critical papers based on each of the three Field Assignments. This assignment is designed to encourage the student to critically examine performances (vocal, physical choices), performance spaces, and cultural differences.

METHODS OF EVALUATION / GRADING RUBRIC 20% Attendance and participation – Arriving on time and prepared to discuss the reading assignment. Points will be deducted for late arrivals and early departures. 2 times lowers the final grade 1 point. Each absence lowers the final grade 2 points. Much of the class is devoted to lecture and participatory discussions which cannot be made up outside of class. 10% 2 Quizzes – one scheduled and one unscheduled on the reading material for the day. 10% Field Response Journal 20% Field Lab and 4 page critical paper with ticket stub 30% 3 Field Assignments and 2 page critical paper and ticket stub each. 10% Final Exam 100%

RESERVE LIBRARY LIST AUTHOR: Dennis Kennedy AUTHOR: Martin Banham (editor) TITLE: Oxford Companion to Theatre and TITLE: The Cambridge Guide to Theatre Performance PUBLISHER: Cambridge University Press PUBLISHER: Oxford University Press ISBN #: 0521434378 ISBN #: 019957197 DATE/EDITION: 1995 DATE/EDITION: 2010 COST: $56.19 COST: $30.58

AUTHOR: Robert Barton TITLE: Acting: Onstage and Off AUTHOR: Richard Brestoff PUBLISHER: Wadsworth Publishing TITLE: Great Acting Teachers and Their ISBN #: 0495898864 Methods DATE/EDITION: 6th Edition PUBLISHER: Smith and Kraus COST: $93.00 ISBN #: 1575250128 DATE/EDITION: 1996

COST: $10.40 PUBLISHER: Smith and Kraus ISBN #: 157525770X AUTHOR: Richard Brestoff DATE/EDITION: 2010 TITLE: Great Acting Teachers and Their COST: $15.81 Methods (Volume 2)

ELECTRONIC COURSE MATERIALS Scanned copies provided by the instructor.

ADDITIONAL RESOURCES Students will need to have access to the New York Times Online as well as Playbill.com for research purposes Students will need to have access to Wikipedia

HONOR CODE Semester at Sea students enroll in an academic program administered by the University of Virginia, and thus bind themselves to the University’s honor code. The code prohibits all acts of lying, cheating, and stealing. Please consult the Voyager’s Handbook for further explanation of what constitutes an honor offense.

Each written assignment for this course must be pledged by the student as follows: “On my honor as a student, I pledge that I have neither given nor received aid on this assignment.” The pledge must be signed, or, in the case of an electronic file, signed “[signed].”