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1 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 2 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 3 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, 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. 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) 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 4 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. 5 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 6 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 8 The New Comedy The Pot of Gold Roman Comedy Pantomime Dyskolos 9 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 7 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