Download Play Analysis

COURSE OUTLINE
New York City College of Technology
Humanities Department
COURSE CODE:
TITLE:
PATHWAYS:
HOURS/ CREDITS
THE 2380
Play Analysis: Texts And Contexts
Creative Expression
3 Hours / 3 Credits
COURSE DESCRIPTION: The analysis of play scripts for literary structure, aesthetic elements necessary for
their theatrical realization, and an appreciation of stylistic approaches to plays from various historical and
theatrical genres.
COURSE CO/PREREQUISITE (S): English 1101
RECOMMENDED/TYPICAL/REQUIRED TEXTBOOK (S) and/or MATERIALS*
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Cal Pritner & Scott E. Walters. Introduction to Play Analysis. (McGraw-Hill, 2005)
Stanley Vincent Longman. Page and Stage: An Approach to Script Analysis. (Allyn and Bacon, 2004)
David Rush. A Student Guide to Play Analysis. (Southern Illinois University Press, 2005)
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Aristotle. Poetics (excerpts)
5-8 play scripts drawn from representative authors, eras, and styles, such as (but not limited to) the
following:
Aeschylus, Albee, Anouilh, Baraka, Beckett, Brecht, Calderon, Chekhov, Churchill, Euripides, Fo,
Giradoux, Glaspell, Gorky, Hansberry, Ibsen, Inge, Ionesco, Kaiser, Kushner, Mamet, Miller, Moliere,
Norman (Marsha), O’Neill, Parks, Pinter, Pirandello, Plautus, Schnitzler, Shaffer, Shakespeare, Shaw,
Shepard, Sheridan, Smith (Anna Deavere), Sophocles, Soyinka, Synge, Tredwell, Williams, Wilson
(August), Wilson (Lanford)
SAMPLE SEQUENCE OF TOPICS AND TIME ALLOCATIONS*
A new play is introduced every 2 weeks. The following topics are discussed as applicable to each script.
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Dramatic Form vs. Narrative Form; Approaches to Analysis
Aristotelian elements: Plot, Character, Diction, Thought, Music, Spectacle
Given Circumstances
The Theatrical Contract
Theatrical contracts and conventions in performance.
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Analyzing Character through Dialogue, Language & Action.
Dramatic Genres
Conflict/Resolution Plot Structure
Aristotelian Plot Structure
The Scene as a Unit of Conflict. Beats.
Actors’ Character Analysis
Non-linear Plot Structures
Theatrical Contract & Given Circumstances of Fantastical Plays
*Topics are introduced in a sequence and manner to increase understanding and appreciation of the play
being studied. There is no assumption or obligation to cover these topics in sequence. The theatre faculty
recognizes that the relevance of any concept varies with respect to the specific play being considered.
The selection of plays in any given semester will influence the emphasis given to each topic. Instructors
make an effort to choose plays that represent a variety of styles, genres, and historical eras.
COURSE INTENDED LEARNING OUTCOMES/ASSESSMENT METHODS
LEARNING OUTCOMES
1. Students will decipher the structure of dramatic
works.
ASSESSMENT METHODS
1. Scene Analysis Presentation; Response papers;
Character maps; Paper # and Final Project.
2. Students identify and apply Aristotelian components 2. Mid-term exam. In-class discussion. Paper #1
of dramatic structure.
3. Students demonstrate understanding of the
processes involved in the theatrical realization of a
script.
3. Final Project relies on this foundation reinforced
throughout the term by in-class discussion.
4. Students demonstrate ability to identify plays by
genre and socio-historical context
4. Mid-term exam. Basic Play Analysis Forms.
5. Students utilize professional vocabulary
5. Mid-term exam.
GENRAL EDUCATION LEARNING OUTCOMES/ASSESSMENT METHODS
LEARNING OUTCOMES
KNOWLEDGE:
º Develop a working vocabulary of play analysis
concepts and terminology (Aristotelian and
ASSESSMENT METHODS
º Mid-term exam; implementation during inclass discussion and in formal papers.
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Stanislavkian).
º Demonstrate familiarity with a variety of dramatic
genres.
º Understand the varying approaches required for
different design aesthetics and understand the
processes involved in the theatrical realization of a
script.
SKILLS:
º Communicate ideas in writing.
º Communicate ideas orally.
º Mid-term exam; implementation during inclass discussion and in formal papers.
º In-class response writing; Paper #1;
Dramaturgical Report; Production Concept
Paper.
º Use textual evidence to support conclusions.
º In-class writing; formal essays.
º Formal & informal oral presentations; frequent
class discussion.
º Character maps; Final Project Production concept
presentation.
º In-class discussion; formal essays; Final Project.
º Research information effectively and document it
using standard bibliographic style.
º Given Circumstances Project & Bibliography;
Dramaturgical Report & Bibliography.
º Communicate ideas visually.
VALUES:
º Develop empathy for groups and/or individuals
who differ from oneself in any significant respect.
º Verbal and written character analyses. In-class
enactments of characters.
º Increased respect for others opinions; desire and
ability to function effectively as a team member.
º Final Project: Team Presentation.
º Increased aesthetic appreciation.
º Written reflections at beginning and end of term.
SCOPE OF ASSIGNMENTS and other course requirements*
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Oral Assignments
In addition to active, informed participation in discussion, students will give at least 2 prepared oral
presentations, which may include the following:
Oral Presentation on Given Circumstances.
Oral Analysis of a scene from a Shakespearean play.
Oral Presentation as part of Pre-production Analysis, as detailed below.
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Written Assignments
Students will complete a minimum of 3 short writing assignments (1-3 pages) such as the following:
o dramatization: transforming a short narrative into drama.
o character mapping: creating a graphic representation of the relationships in the play.
o response papers: responding to a writing prompt in class.
o beat analysis of a scene.
Midterm exam on plot and vocabulary and theory.
7-10 page Dramaturgical Report and Pre-Production Analysis.
* Theatre faculty are aware that the designated Learning Outcomes in this area may be achieved through a wide
variety of methodologies. While all classes will require significant amounts of oral and written communication,
the list of assignments presented here is intended only as a sample. Instructors may replace or augment these
assignments.
TYPLICAL SHORT WRITING ASSIGNMENTS:
SAMPLE #1. Character Map:
In a 1-2 page essay, describe the character relationships in Doll’s House in terms of family ties, power,
desire, cause, and effect.
SAMPLE #2. Given Circumstances Assignment:
Research the Given Circumstances of an assigned play including such factors as its temporal and geographic
setting; political, economic, or religious systems that underlie the world of the play; and cultural norms that
shape character’s attitudes towards race, class, gender, family, love, marriage, and language usage.
Summarize your findings in a 1-2 pages paper that includes a bibliography of the sources consulted.
Explain your findings to the class in an extemporaneous oral presentation.
TYPICAL PAPER ASSIGNMENTS
SAMPLE #1. Final Project: Team Pre-Production Analysis
 Dramaturgical Report & Bibliography
 Production Concept Paper
 Team Presentation
The class will be divided into teams of four; each team will be assigned a play not studied as part of the
class; each member of the team will choose a production area (direction, sets, sounds, costumes, lights).
The team will work to create a joint production concept for a proposed production of the play. Each
student will individually research and write a 7-10 page dramaturgical report which will include an
analysis of given circumstances and a survey of past production choices. Each paper will also explain
and justify the concept as planned for the individual student’s chosen production area.
The Team Presentation will explain the concept, illustrating each area with visual, audio, and/or video
support.
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SAMPLE #2. Dramaturgical Report, Bibliography, and Pre-Production Concept.
Students will synthesize the main concepts of the semester in the final written paper and oral
presentation. They will execute a complete dramaturgical case study and text analysis on a
play/playwright of their choosing. In a research paper of 7-10 pages, students will offer a biography of
their chosen playwright as well as detailed historical and cultural context in which the play was written.
Students may also wish to discuss production history of their play and in some cases may wish to read
other plays by the playwright in order to gain a deeper understanding of their dramaturgical style. For
their chosen play students will analyze the structure, given circumstances, theme, plot, character
development, historical style, and theatrical style.
Four sources minimum are required, only one of which may be an internet source. Encyclopedias
and textbooks should not be listed on the bibliography. These types of sources are great for starting your
research, as they can provide a general picture of the subject matter and bibliographies with leads to
additional material. However, there is nothing in encyclopedias and textbooks that will enable you to say
anything new or interesting about a subject.
METHOD OF GRADING – elements and weight of factors determining the students’ grade*
10%
Substantive Contribution to Class Discussion
10%
Midterm Exam on Terminology and Concepts
10%
Oral Presentations
10%
In-class writing
30%
*Short papers
30%
Dramaturgical Report and Pre-Production Analysis
100%
*Instructors may substitute other assignments designed to elicit student responses to plays and/or to
assess student comprehension of plays or textual material.
New York City College of Technology’s official grading scale will be used
93-100%
90-92.9%
87-89.9%
83-86.9%
80-82.9%
77-79.9%
70-76.9%
60-69.9
≤ 59.9%
A
AB+
B
BC+
C
D
F
ACADEMIC INTEGRITY POLICY STATEMENT
Students and all others who work with information, ideas, texts, images, music, inventions, and other
intellectual property owe their audience and sources accuracy and honesty in using, crediting, and citing
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sources. As a community of intellectual and professional workers, the College recognizes its responsibility for
providing instruction in information literacy and academic integrity, offering models of good practice, and
responding vigilantly and appropriately to infractions of academic integrity. Accordingly, academic dishonesty
is prohibited in The City University of New York and at New York City College of Technology and is
punishable by penalties, including failing grades, suspension, and expulsion. The complete text of the College
policy on Academic Integrity may be found in the catalog.
COLLEGE POLICY ON ABSENCE/LATENESS
A student may be absent without penalty for 10% of the number of scheduled class meetings during the
semester as follows:
Class Meets Allowable Absence
1 time/
2 classes
2 times/ 3 classes
3 times/ 4 classes
HUMANITIES DEPARTMENT POLICY ON ABSENCES/LATENESS
Class Meets
1 time/week
2 times/week
3 latenesses
Allowable Absence
1 1/2 classes
3 classes
equal one absence
There are no excused absences, since a student who is not in a class for any reason is not receiving the benefit
of the education that is taking place. The professor will keep accurate, detailed records of all absences from
class, and may assign a WU grade (withdrew unofficially) to any student who exceeds that limit. A student is
required to take the responsibility of keeping track of his/her own absence from class. When it exceeds four
hours, he or she should make an appointment to discuss the problem with the professor.
Typical 15- week calendar
Week
1
Play
2
Play #1
3
4
5
Topic
Dramatic Form vs. Narrative Form
Approaches to Play Analysis
Analysis of Aristotelian elements:
Plot, Character, Diction, Thought, Music, Spectacle
Play #2
The Theatrical Contract
Attendance at Live Theatre Performance;
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6
Play #3
7
8
Midterm Exam; Dramatic Genres
Play #4
9
10
Conflict/Resolution Plot Structure
Aristotelian Plot Structure
Play #5
The Scene as a Unit of Conflict. Beats.
Play #6
Attendance at Live Theatre Performance;
Actors’ Character Analysis
Non-linear Plot Structures
11
12
Theatrical contracts and conventions in performance.
Analyzing Character through Dialogue, Language & Action.
13
Theatrical Contract & Given Circumstances of Fantastical Plays
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Production Analysis: Direction; Design
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Group Presentations
Revised February 2016
Shauna Vey
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