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1 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 2 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 Writing (Full Coverage) 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. 3 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: Come to class on time If you must leave a class early, please sit close to an exit to minimize the disturbance of your leaving 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. 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... 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) 4 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 5 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 1-2 19th Century Camille Other: Screenings, etc. La Traviata Dramaturgy topics And Presentations Begin work on your 6 Darwin Freud Marx Saxe-Meinigen Players Bayrreuth Art revolution Woyzeck Therese Raquin project Hedda Gabler 5-7 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 8 World War I Expressionism Artaud Max Reinhardt Murderer the Womens’ Hope Lulu Various film Broadway 9 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 3-4 10 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 7 Multiculturalism