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THEATRE HISTORY: The Modern
Era
THE 383 Modern Theatre History
Instructor: C.L. Wittwer
Office: H202 Fine Arts Building
Email: [email protected]
Office Hours: 12:30-1:30pm Tuesdays and Thursdays
Class meets: Tuesday, Thursday 9:30 -10:45am in Fine Arts Building
room H201
Welcome to Theatre History 383. This course provides an introduction to the World Theatre of
the modern period…roughly that era from the mid-nineteenth century to the mid-twentieth.
Course material includes the contributions of Ibsen,Checkhov, Wagner and others towards the
New Drama; Expessionism and the rise of overtly political theatre through the 1960’s; The
theatre of the Far East; postmodern drama. This class is centered on reading, research, reflection,
writing and discussion. We'll read plays, talk of productions, look at and research visual
material. Student and Instructor Presentations of these materials as Dramaturgy Projects form
the basic structure of the course format.
We’ll do some readings in criticism and commentary, and write some of our own. All of this
will, I hope, work towards students’ informed understanding of an extraordinary period of
theatrical development in the context of modernism’s great social and intellectual changes:
changes reflected in the theatre that helped shaped them and that was shaped by it.
Course Description and Goals:
THE 383 History of the Modern Theatre (3)
Modern theatre and drama from 1880 to the present. Course includes new European stagecraft
and its influence on the postmodern drama and contemporary non-Western drama (lec.3) (A)
-URI Catalogue
General Education Categories: Objectives and Outcomes
Course Learning Objectives:
Humanities (Full Coverage):
Upon completion of this course, you should be able to:
 Understand and describe the historical development of theatre of the modern era
 Identify facts, vocabulary, definitions, terms, concepts, and people relevant to the history
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of the Theatre and modernism
Analyze play texts (using representative plays) for its relationship to relevant social,
artistic/intellectual and political developments
Identify the key changes in the theatre’s social roles and physical form
Define and Describe key terms such as expressionism and “The New Drama”
Research and Write argumentatively on Theatrical/Historical issues
Analyze and interpret the significance of theatre artists through historical perspectives
Explore/Identify facts, vocabulary, definitions, terms, concerts, people in a Theatre
History context
Recognize concepts or tools relevant for application to a research task
Ask questions or frames hypotheses
Analyze: Apply concepts to address the study of Theatre History
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Writing (Full Coverage)
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Demonstrate consideration of audience and style as appropriate to analysis and
arguments about dramatic texts and performances
Construct, support and present claims (synthesis, analysis, critiques, explanations,
arguments) with appropriate textual evidence and/or credible sources.
Achieve organization and coherence through careful attention to logic, plausibility and
persuasiveness within and among claims, arguments, evidence, and conclusions.
Adhere to rules of writing about dramatic texts: for example. correct formal citation.
Adhere to formal and informal rules of syntax, grammar, mechanics, and usage
appropriate to Standard Written English.
Academic Honesty
There is a ‘Community Standards of Behavior’ section in your student handbook which outlines
University policies and regulations regarding honesty, plagiarism and cheating etc. in academic
work. Please refer to this for a detailed description of what is and what is not acceptable with
regard to academic honesty. In this class, tests and written assignments have to be your individual
work.
In the classroom: format and etiquette
Class Format
Presentations, most often with visual (PowerPoint) support, will be given by Instructor and
Students. I regard my presentations as ‘teaching moments’ and I expect you to adopt a ‘teaching’
approach in your presentation to the class. Presentations and your reading are the basis for tests
and the final exam.
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Class discussions on reading.
Short ‘reaction & reflection’ writing
Attendance: this is a class that requires your attendance and participation. Each of you is
expected to contribute by:
 showing up for each class
 reading assigned texts prior to class
 presenting your dramaturgy project, participating in “cold” script readings selected from
our play reading list and freely engaging in class discussion
 Observing a few tenets of academic etiquette. “What ‘etiquette’?” you may ask. Here are
a few crucial etiquette tips essential in maintaining a civil, respectful environment in
which we can teach and learn with joy in our hearts and confidence in future endeavors:
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Come to class on time
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If you must leave a class early, please sit close to an exit to minimize the
disturbance of your leaving
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Please turn off cell phones, ipads, laptops and other such devices during class so
you may contribute your views during discussions, not those you’ve hurriedly
searched on the mac.
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Once class has started, remain until class is dismissed. Do not compromise focus
and attention by strolling out of class during someone’s presentation….not only
is this very distracting, but it shows disregard for the work of your instructor and
other students in the class...
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During class, please refrain from ‘side conversations’ especially those related to
departmental production work or private matters unrelated to our work in theatre
history
If you stop to think about it, Academic etiquette is basically not much different than old
fashioned Good Manners, which is rooted in consideration for others, in this case, for your
instructor and your fellow students.
Assignments and grading
Dramaturgy Project (30%)
Research an approved Dramaturgy topic (see "Dramaturgy Topic Due” on the attached Calendar) and
write a brief (6-10 pages) paper on it, and present your work to the class.
 The Presentation is given by you with visual support (slides, videos, ‘cold reading” of
scenes, etc.). The written part of the project is in the form of a formal researched paper,
which will
 be about 5-10 pages long
 follow the format presented to you on your “Guide to Dramaturgy Projects’ (attached)
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have proper footnotes and quotation marks for material you are quoting
be written in your words
have an annotated bibliography of books and websites you have consulted
be prepared in consultation (at least two meetings) with the course instructor
be your own, not some kind of group or webjacked effort, and thus
avoid the hideous Spectre of Plagiarism by really being your own work based on research
be due during the week indicated on the course calendar in consultation with the instructor
Your Dramaturgy Project will be due ON OR ABOUT the week indicated in the calendar attached to
this syllabus. Please remain alert to reminders in class about your presentation date.
The Dramaturgy Projects account for 30% of your final grade.
Participation (20%)
Participation happens during class, where your responses to course content (readings, videos,
presentations) are given in our lively, fun, informed & brilliant discussions. Come to class all
the time. Share your insights, questions and comments. Be sure to bring your ‘current play’ to
class: our in-class play readings are forms of participation: you may be cast! It is very difficult
for you to ‘make up’ your participation responsibilities if you miss class. You are strongly
encouraged to take written notes during presentations, especially to insure your understanding
and recall of relevant concepts, definitions, personalities and events appropriate to an
understanding of theatre history. Always feel free to ask questions, contribute your insights and
factual findings, your interpretation of our readings, etc.
Participation is graded like this:
A: Attendance to all class sessions with active, insightful contributions to discussion through the
term
B: Attendance to almost all class sessions (Two or less unexcused) with substantial contribution to
discussion through the term
C: Attendance to almost all class sessions (Three or less unexcused) with active contribution to
discussion through the term
D: Attendance to almost all class sessions (Four or less unexcused) with some contribution to
discussion through the term
F: More than Four unexcused absences with minimal or no contribution to discussion through the
term
Participation accounts for 20% of your final grade.
C. Tests and Final Exam (50%)
About once a week I give a test either in class or in "take home" form. It will cover such things as
 plays and other readings for the week(s) as shown on the calendar
 handout materials, videos we’ve watched
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lecture/presentations from students and instructor
theatre history research you’ve done
Tests are graded on this scale:
A 100-90
B 80-89
C 70-79
D 60-69
F 0-59
There will be a Final Exam which is counted twice when averaging your test scores.
The Tests and Final Exam account for 50% of your final grade.
Texts
Stanton (ed)
Pinter
Buchner
Ibsen
O’Neill
Brecht
Beckett
Camille and Other Plays
The Caretaker and the Dumb Waiter
Danton’s Death and other Plays
Hedda Gabler
Four Plays by Eugene O’Neill
Mother Courage and her Children
Waiting for Godot
Schedule
Attached please see our schedule of readings and dramaturgy topics. Every term, some flexibility
in our schedule is required as our pace and focus shifts from term to term. The schedule is
therefore not exact. But usually we’ll finish all the topics and get to the end of the course as
outlined in the schedule, making changes as needed: I’ll announce precise dates and any
alterations to the schedule in class, and talk with you individually also about changes that impact
due dates and test times. Our final exam will be held on the time and date as scheduled by the
University.
week
General
Topics covered
Reading
Assignment
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19th Century
Camille
Other:
Screenings,
etc.
La Traviata
Dramaturgy topics
And Presentations
Begin work on your
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Darwin
Freud
Marx
Saxe-Meinigen
Players
Bayrreuth
Art revolution
Woyzeck
Therese
Raquin
project
Hedda Gabler
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The New Drama &
its Audiences
Symbolism
The Avant Garde
Kabuki of Japan
Miss Julie
Ubu Roi
Das
Rheingold
Hedda
Gabler
A Doll House
The Father
Uncle Vanya
Miss Julie
Kabuki on
film
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World War I
Expressionism
Artaud
Max Reinhardt
Murderer the
Womens’ Hope
Lulu
Various film
Broadway
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World War II
Epic Theatre
Socialist Realism
Fascist Art
Surrealism
Post war
Absurdism
Super Realism
Imperialism’s
collapse
Mother Courage
and her Children
Leni
Riefenstahl
The Perfect Wagnerite,
Chapter One
Shaw on A Doll House in
The Quintessence of
Ibsenism
Wedding on the Eiffel
Tower
Hauptmann, The
Weavers
Maeterlinck’s The
Intruder
Toller’s Transfiguration
Artaud: The Theatre
and its Double
Artaud: The Cenci
Kabuki in Japan
Early film
Blue Blouse
Hitler the Artist
Blood Wedding
Nazi Thingspiel
Lorca’s murder
Waiting for Godot
The Birthday Party
Beckett
Ionesco: Rhinoceros
Shorts
Kroetz: Michi’s Blood
Ionesco shorts Bond: Saved
Genet: The Blacks
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11,12 Social Upheaval
Vietnam
13,14 Postmodernism and
Beyond
Issue plays and
Hair
Hamletmachine
Akropolis
Accidental Death of an
Anarchist
The Serpent
Dionysus in ‘69
The Empty Space
Robert
Richard Foreman
Wilson Shorts Queer Theory
Deconstruction
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Multiculturalism