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THEATRE HISTORY:
History of Theatre to 1642
THE 381 History of Theatre to 1642
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 381. This course provides an introduction to the World Theatre
from its origins through the highly sophisticated theatres of the European Renaissance. Tragedy,
Comedy and drama of ancient Greece and Rome, the medieval drama, non- Western drama and
early Renaissance theatre. 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 read plays, and do reading in criticism and commentary, and write some of our own. All of
this will, I hope, work towards students’ informed understanding of the extraordinary
development of one of the world’s great art forms from its origins.
Course Description and Goals:
THE 381 History of Theatre to 1642 (3)
General History of the Theatre from its origins through the Renaissance. Introduction to nonWestern drama of the period. Course focuses on the actor, staging and the audience as they have
influenced the development of theatre and dramatic literature. (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 from its origins through
the early Renaissance
 Identify facts, vocabulary, definitions, terms, concepts, and people relevant to the history
of the Theatre
 Analyze play texts (using representative plays) for its relationship to relevant social,
artistic/intellectual and political developments
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Identify the key changes in the theatre’s social roles and physical form
Define and Describe key terms such as tragedy, comedy and 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.
Class discussions on reading.
Short ‘reaction & reflection’ writing
Attendance: this is a class that requires your attendance and partition. Each of you is expected to
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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, iPad, 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)
 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
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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
 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.
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Grading Summary
Participation/Attendance=20%; Dramaturgy Project=30%; Tests and Final Exam=50%
Accommodation for Students with disabilities
Any Student with a disability that is likely to affect performance on any or all of the assignments
should see me to arrange for accommodations….Please also be in touch with the Disability Services
for Students office at 330 Memorial Union 874 2008.
Writing Center help
You can improve your writing skills by working with the Writing Center (Roosevelt Hall 408). They
can offer you one-on-one assistance with your writing…but you must visit the center at WCOnline
to schedule an appointment. Take your Guide for Dramaturgy Project handout with you when you
visit them, along with your writing sample or paper for which you seek assistance.
Texts
Aristotle
Fagles (trans.)
Aristophanes
Maus (ed)
Gassner (ed)
Watling (ed)
Bentley (ed)
The Poetics
Agamemnon
Aristophanes Plays One
Four Revenge Tragedies
Medieval and Tudor Drama
Plautus: Pot of Gold and Other Plays
Life is a Dream and Others
Schedule
Please see our schedule below of readings and dramaturgy topics. Every term, some flexibility in
our schedule is required as our pace and emphases shift from term to term. 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 also talk with
you individually about changes that impact due dates and test times. Our final exam will be held
on the time and date scheduled by the University.
week
General
Topics covered
Reading
Assignment
Other:
Screenings, etc.
Dramaturgy topics
And Presentations
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1-2
Origins
Elements of
Performance
North Africa
The magician
healer
Reality of magic
Oracle at Delphi
Origins: Aegean
world
Sacred nature of
Attic Theatre
Aristotle’s view
of Form in
Tragedy
Sanskrit Drama
Puppet and
shadow play
theatres of old
China
Chinese Literary
theatre
Suragaku-no of
Japan
Politics and
theatre
Agamemnon
Begin reading The
Mask of
Apollo(periodic
assignments tba)
Agamemnon
Theatres of Human
Balinese Trance Sacrifice
performance
Tragic Mask and
Costume
Persian Wars
The Libation Bearers
The Eumenides
Agamemnon
Oedipus the Tyrant
The Poetics
Oedipus the
Tyrant
The Pelopenesian War
The Massacre at Melos
The Trojan Women
Helen
Greek Theatre
structure, or, a trip to
the Theatre in classical
Athens
The language of the
hand in dance
The Injustice Done to
Ngo Tou
Medea
Medea
The Child Murderess
(Susan Smith, Casey
Anthony?)
6-7
Farce and the Old
Comedy
The Birds
Standup
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The New Comedy The Pot of Gold
Roman Comedy
Pantomime
Dyskolos
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Roman tragedy
Colosseum
Comic Costume and
Mask
Comedy as
Transgressive
Comedy as physical
Atellan Farce
Dyskolos
Roman Theatre
structure, or, a trip to
the Theatre in ancient
Rome
Gladiatorial Types
3-4
5-6
Thyestes
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Drama as Sports
Spectacle
10,11 Medieval Theatre
Pageant play
Passion Play
Miracle Play
Morality Play
1214
Renaissance
Chambers of
Rhetoric
Tragedy
Comedy
Quem quiretas trope
Dulcitious
Everyman
The Second
Shepherd’s Play
Mankind
Staging the Chester
Cycle
Doctor Faustus
The revenger’s
Tragedy
Fuente Ovejuna
Teatro Olimpico
Shakespeare’s Globe
Corrales theatres of
Spain
Lost in a Mirror