Download SEMESTER AT SEA COURSE SYLLABUS

SEMESTER AT SEA COURSE SYLLABUS
University of Virginia, Academic Sponsor
Voyage: Fall 2014
Discipline: Drama
DRAM 3559: World Theatre and Performance
Division: Upper
Pre-Requisite: None
Faculty Name: Dr. Judith Williams
Credit Hours: 3; Contact Hours: 38
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 of your choice as 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 Lab’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.
AUTHOR: Lorraine Hansberry
TITLE: A Raisin in the Sun
PUBLISHER: Samuel French
ISBN #: 978-0451167293
REQUIRED TEXTBOOKS
DATE/EDITION: June 1988
COST: $10.95
AUTHOR: Anton Chekhov
TITLE: The Seagull
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PUBLISHER: Faber & Faber
ISBN #: 978-0571192700
DATE/EDITION: August 30, 2001
COST: $10.79
TITLE: A Streetcar Named Desire
PUBLISHER: New Directions Paperback
ISBN #: 978-0811216029
DATE/EDITION: September 2004
COST: $8.50
AUTHOR: Bertolt Brecht
TITLE: The Three Penny Opera
PUBLISHER: Penguin Classics
ISBN #: 978-0143105169
DATE/EDITION: December 18, 2007
COST: $8.44
AUTHOR: Moises Kaufman
TITLE: The Laramie Project
PUBLISHER: Vintage
ISBN #: 978-0375727191
DATE/EDITION: September 11, 2001 / 1st
Edition
COST: $11.88
AUTHOR: Moliere
TITLE: Tartuffe
PUBLISHER: Signet Classics
ISBN #: 978-0451530332
DATE/EDITION: January 2, 2007
COST: $7.50
AUTHOR: John Pielmeier
TITLE: Agnes of God
PUBLISHER: Samuel French
ISBN #: 978-0573630224
DATE/EDITION: November 2, 2010
COST: $9.95
AUTHOR: Brian Friel
TITLE: Dancing at Lughnasa
PUBLISHER: Faber & Faber
ISBN #: 978-0571144792
DATE/EDITION: December 30, 1998
COST: $10.41
AUTHOR: John Patrick Shanley
TITLE: Doubt
PUBLISHER: Dramatists Play Service
ISBN #: 978-0822222194
DATE/EDITION: June 2007 / Acting
Edition
COST: $7.20
AUTHOR: Oscar Wilde
TITLE: The Importance of Being Earnest
PUBLISHER: Simon & Brown
ISBN #: 978-1613823255
DATE/EDITION: July 2013
COST: $9.49
AUTHOR: Paula Vogel
TITLE: How I Learned To Drive
PUBLISHER: Dramatists Play Service
ISBN #: 978-0822216230
DATE/EDITION: October 1, 1997
COST: $7.20
AUTHOR: Athol Fugard
TITLE: The Road to Mecca
PUBLISHER: Theatre Communications
Group
ISBN #: 978-0930452797
DATE/EDITION: January 1, 1993 / 1st
Edition
COST: $10.36
AUTHOR: Eugene O’Neill
TITLE: A Moon for the Misbegotten
PUBLISHER: Yale University Press
ISBN #: 978-0300118155
DATE/EDITION: August 28, 2006 / 1st
Edition
COST: $11.01
AUTHOR: Tennessee Williams
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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
B1- August 26: Introduction – American Theatre. Read Lorraine Hansberry’s A Raisin in the Sun
for B2 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.
B2-August 28: 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 B3.
St. Petersburg, Russia: August 30 - September 1 – 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.
B3- September 2: Briefly discuss any productions seen. Possible quiz. Discuss The Seagull. Read
Brecht’s The Three Penny Opera for discussion on B4 in terms of politics, romantic intrigue and
crime.
B4- September 4: Discuss The Three Penny Opera and Epic Theatre.
Gdansk, Poland: September 5 – 7
Rostock, Germany: September 8 – 9
B5- September 11: Briefly discuss any productions seen. Assign Moliere’s Tartuffe to be
discussed in relation to religion, morality, and gullibility on B6.
B6-September 13: 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 B7.
Antwerp: September 14-16
Le Havre: September 17-19
B7- September 21:. Briefly discuss any productions seen. Discuss Dancing at Lughnasa.
Preparation for Field Lab – Irish playwrights, theatres, actors, directors, designers. Read Oscar
Wilde’s The Importance of Being Earnest for discussion in terms of upper class sensibility, lies,
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and secrets for B8.
B8- September 23: Discuss The Importance of Being Earnest.
Dublin: September 26– FIELD LAB. 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 B9.
Active participation in all aspects of Field Lab is required.
B9- September 29: Collect Field Lab 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
B10- October 6: 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 B11.
Casablanca: October 8-11
B11-October 12: Discuss African Theatre and The Road to Mecca.
B12- October 14: 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 B13.
Dakar: October 16-19
B13- October 20: Discuss Streetcar. Read Moises Kaufman’s The Laramie Project for discussion
in terms of intolerance, hatred, homosexuality and community for B14.
B14- October 22: Possible quiz. Discuss The Laramie Project. Read John Pielmeier’s Agnes of
God for discussion in terms of saints, sinners, and psychiatry for B15.
B15- October 24: Discuss Agnes of God. Read Doubt by John Patrick Shanley for discussion in
terms of religion, morality, and race for B16.
Takoradi: October 25-26
Tema: October 27-28
Make particular note of any theatrical street or dance drama you
may encounter as part of your journal entries.
B16- October 30: Discuss Doubt. Read Paula Vogel’s How I Learned to Drive for discussion in
terms of adult responsibility and child abuse for B17.
B17-November 1: 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 B20.
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Study Day: November 2
B18- November 4: Discussion of Augusto Boal’s Brazilian Theatre of the Oppressed and Forum
Theatre. Social issue improvisational theatre.
B19- November 6: Improvisation Workshop focusing on social issues.
Rio de Janeiro: November 7-9
In-transit: November 10-11
Salvador: November 12-14
Make particular note of any theatrical street or dance drama
you may encounter as part of your journal entries.
B20- November 16: Discuss A Moon for the Misbegotten. Read Neil Simon’s Brighton Beach
Memoirs for discussion in terms of family solidarity amidst global uncertainty for B21.
B21-November 18: Possible quiz. Discuss Brighton Beach.
Study Day: November 19
B22-November 21: Experiential workshop TBA
Bridgetown: November 22-24
B23- November 26: Catch up day.
Havana: November 29- December 2:
B24 – November 28: Review for Final Exam covering assigned plays, handouts, and lecture
discussions.
Study Day- December 3
B25 - December 5 (B 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 LAB (At least 20 percent of the contact hours for each course, to be led by the instructor.)
The lab for this course takes place on Day 3 in Dublin - Friday, September 26.
Experience a pub tour with costumed actors and a discussion with a stage fright specialist prior
to the performance at the Abbey Theatre, the National Theatre of Ireland. The post production
discussion will take place during the next shipboard class
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Academic Objectives:
1. To experience and understand the production presented at a professional Irish theatre.
2. To prepare the students with a pub tour and discussion so that they can appreciate the modern
Irish theatre scene.
3. To analyze and critique the theatre production and experience of the Field Trip in a 4 page,
critical paper.
4. Experience a presentation on stage fright from an expert in the field.
FIELD ASSIGNMENTS – There will be three required theatre performances in addition to the
Field Lab. Students may choose their own performances through guidance of professor.
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
TITLE: Oxford Companion to Theatre and
Performance
PUBLISHER: Oxford University Press
ISBN #: 019957197
DATE/EDITION: 2010
COST: $30.58
AUTHOR: Martin Banham (editor)
TITLE: The Cambridge Guide to Theatre
PUBLISHER: Cambridge University Press
ISBN #: 0521434378
DATE/EDITION: 1995
COST: $56.19
AUTHOR: Robert Barton
TITLE: Acting: Onstage and Off
PUBLISHER: Wadsworth Publishing
ISBN #: 0495898864
DATE/EDITION: 6th Edition
COST: $93.00
AUTHOR: Richard Brestoff
TITLE: Great Acting Teachers and Their
Methods
PUBLISHER: Smith and Kraus
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ISBN #: 1575250128
DATE/EDITION: 1996
COST: $10.40
Methods (Volume 2)
PUBLISHER: Smith and Kraus
ISBN #: 157525770X
DATE/EDITION: 2010
COST:
AUTHOR: Richard Brestoff
TITLE: Great Acting Teachers and Their
$15.81
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].”
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