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Abilene Christian University College of Arts and Sciences Department of Theatre The Abilene Christian University Department of Theatre is committed to providing quality training and opportunity for the disciplined theatre artist in a nurturing environment that models Christian values. THEA 495 History of Theatre I 1:00-1:50 MWF, Fall 2009 Duncan Classroom Course Description: Theatre history from ritual theory and Greek origins to 18th century European practice. Includes focus on cultural and political contexts for theatre events and progressive influences of writers, designers, directors, and performers. Instructor Information: Instructor: Kari Hatfield, Assistant Professor of Theatre ACU Box: 27843 Office: 135; Phone:674-2813 Email: [email protected] Office Hours: MWF 9-11am; 2-3pm (Please call or email for an appointment) Required Texts: Living Theatre: History of the Theatre, Fifth Edition by Edwin Wilson and Alvin Goldfarb. McGraw-Hill publishers 2008. The Bedford Introduction to Drama, Sixth Edition By Lee A. Jacobus, ed. Bedford/St. Martin’s publishers, 2009. Course Purpose: In order for the student to fully utilize and understand the theatrical medium, he/she must have a foundational understanding of its historical development. How has the past determined the present direction of the theatrical art, and how can it shape a “master objective” for the future? “We of the theatre need the inspiration and the discipline of Shakespeare and Moliere exactly as a musician needs the inspiration and discipline of Bach and Mozart. And we need a sense of where it all came from, this theatre of ours, and where it has been going, and where it seems to be going now. For the task that inexorably confronts us – the task of continuing – we need, also, to assign ourselves a master objective.” Erick Bentley, What is Theatre? Discovering a “master objective” is an essential step in the development of the theatre student – to assimilate and own a purpose for the theatre. The main premise for this class is to explore the concept of a “master objective” in the theatre: what it was in the past, and what it might be today? How can today’s theatre student discover his/her own “master objective”? Specific Learning Objectives/Outcomes: 1. 2. 3. 4. 5. To expose the student to primary plays and genres of the dramatic cannon. To understand the theatrical, literary, social, and cultural influences that have shaped each play. To identify the ebb and flow of theatrical innovation through the arc of history. To develop disciplined research and critical thinking techniques. To communicate, through specific examples, the historical development of styles, themes and production techniques. Methods of Assessing Achievement of Learning Objectives: Group Teaching Project: Later in the semester, you will be given a group assignment. Your group will be responsible for teaching a specified period of history. Presentations will be graded on the following: Participation Creativity – don’t just be a talking head! Get the class involved! Scholarship Clarity of main points – don’t overwhelm us with information Use of supplementary (non-textbook) materials (at least 3 non-internet sources) Use of practical applications/examples (plays from the period, set or costume models, pictures, demonstrations, etc.) Use of assigned time (30-40 minutes) Commedia Project: You will be divided into groups to rehearse and perform a short sketch inspired by Commedia Dell’Arte troupes of the Italian Renaissance. Scenarios and character information will be provided. Each student will research their character and write a two to three page essay about the history of their specific character, including the character’s role in the troupe, their stage business, costume characteristics, and region they were most popular in. The paper will be due at the time of the group performance. Simple costumes should be worn, but masks are not required for the performance. (50 points paper, 50 points presentation). NOTE: Costuming is your responsibility, and the costume shop should not be contacted or troubled for this assignment. “Dead Diva” Presentation/Paper: Each student will choose a theatre practitioner—from Ancient Greece to the 18th Century—to research and present to the class. The paper should be 8-10 pages in length (12-point font, double spaced) with a minimum of five sources (only two can be internet), and must adhere to MLA format. This is a biographical paper, but it should present an argument rather than merely list facts. Suggestions for research questions you might answer include: How did this person’s image compare or contrast with other facts of his or her personal life? How did his or her work leave a lasting impression on the work of the theatre? What events in this person’s life made an impact on his or her work and why? In addition to the paper, the student will prepare a presentation for the class. Each student should come to class on the day of the presentation in the character of his or her theatre practitioner. The student should dress as the character, speak as the character, and have the mannerisms of the character. The class will speak with a panel of theatre practitioners from history. No notes may be used, but arrangements can be made with classmates beforehand to ask specific questions of the panel (to prompt “impromptu” answers.) NOTE: It is your responsibility to come up with appropriate attire for your Diva presentation. Please do not put this burden on the costume shop. Blog Posts: THEA 495 will participate in a class blog and online discussion through the class blog page. This page can be reached from the WordPress icon on your myacu page. You are required to post three reading responses throughout the semester, and participate in at least two discussion threads. The purpose of this blog is to engage beyond the classroom in critical responses to the material we cover. We may not always have time to discuss all of the exciting things we cover in class, and I want to know what you think! Be honest in your responses, and be respectful in your discussions – I am excited to learn from you through our class blogs this semester. (Each of your 3 responses and 2 discussions will be worth 20 points – I am basing this grade on how well you have processed the information, not on how well you can regurgitate it). While you are encouraged to post as much as you like, all blogs for your grade must be posted by Monday, November 23 (the class time before Thanksgiving break). Examinations: Both a major exam (around mid-term) and a final exam will be given. Each test will carry equal weight, although the final exam will be comprehensive in nature. Extra Credit: Students may read any unassigned commentary essays from the Bedford text and submit a 2-3 page critical response for extra credit. Also, a 2 page show review of any play seen by the student can be turned in for extra credit. Reviews should answer the following questions: How is this performance relevant to theatre history? How would to performance have been different historically? Extra credit assignments will be graded on a scale of up to 30 points per assignment and may be turned in at any time in the semester until the last day of class. Make sure to designate what is meant to be graded as extra credit at the top of each assignment you turn in. Grading Scale: A: 900-1000 points B: 800-899 points C: 700-799 points D: 600-699 points F: Below 600 points Grading Breakdown: Group Teaching Project: 100 points Commedia Project: 100points Dead Diva Paper: 100 points Dead Diva Presentation: 100 points Quizzes: 100points (5 Quizzes @ 20 points each) Midterm Exam: 200 points Final Exam: 200 points Participation: 100 points TOTAL: 1000 points Course Policies: Attendance Policy The department absence policy is as follows: For MWF classes: 5 absences without penalty 6th absence drops student 1 letter grade 7th absence drops student 1 more letter grade On 8th absence student is failed or dropped 3 late arrivals = 1 absence After 15 minutes tardy = 1 absence Never enter the classroom when another student is performing. Please be courteous and respectful by being aware of what it is you are interrupting with your late arrival. Academic Integrity Violations of academic integrity and other forms of cheating, as defined in ACU’s Academic Integrity Policy, involve the intention to deceive or mislead or misrepresent, and therefore are a form of lying and represent actions contrary to the behavioral norms that flow from the nature of God. Violations will be addressed as described in the Policy. While the university enforces the Policy, the most powerful motive for integrity and truthfulness comes from one’s desire to imitate God’s nature in our lives. Every member of the faculty, staff and student body is responsible for protecting the integrity of learning, scholarship and research. The full Policy is available for review at the Provost’s office web site (http://www.acu.edu/campusoffices/provost) and the following offices: Provost, college deans, dean of campus life, director of student judicial affairs, director of residential life education and academic departments. Policy Concerning Missed Assignments: No credit will be given for assignments not completed by the due date (unless previous arrangements – at least 24 hours – have been made.) Quizzes, tests, and presentations cannot be made up or re-taken unless extreme situations occur. The professor reserves the right to grant or withhold make-up exams, quizzes, or presentations on a case by case basis. Any make-up work must be completed before the class period after the original exam or quiz was given. Disabilities: ADA Compliance Statement "Abilene Christian University is dedicated to removing barriers and opening access for students with disabilities in compliance with ADA and Section 504 of the Rehabilitation Act. The Alpha Scholars Program facilitates disability accommodations in cooperation with instructors. In order to receive accommodations, you must be registered with Alpha Scholars Program, and you must complete a specific request for each class in which you need accommodations. If you have a documented disability and wish to discuss academic accommodations, please call our office directly at (325) 674-2667.” Methods of Instruction: The primary methods of instruction will be lecture and guided discussion. Essential to the success of this method of instruction is the student’s willingness to discuss readings in class. Audio/Visual presentations may be used. Power point outlines along with other course material will be copied to the files system online for student access. Course Calendar: Note: All assignments should be completed before class time on the appointed calendar day. Week 1 M 8/24: Syllabus and welcome W 8/26: Introduction W/G 1-23 F 8/28 Greek Theatre W/G 25-61; Bedford – Aristotle’s Poetics 95-101 Week 2 M 8/31 Bedford – Agamemnon (42-64) and Oedipus Rex (70-94) W 9/2 Producing the Greek Play – Group exercise (in class only) F 9/4 Bedford – Lysistrata 165-187 Week 3 M 9/7 Roman Drama W/G 62-83 W 9/9 Roman Dramatists: Plautus, Terence, Seneca – Bedford 196-204 F 9/11 TBA Week 4 M 9/14 Medieval Theatre in Europe W/G 114-141 W 9/16 Bedford – Dulcitus (and commentary) 217-224 F 9/18 Bedford – Everyman – 239-251 Week 5 M 9/21 The Theatre of the Italian Renaissance W/G 143-175 W 9/23 Bedford – Italian Drama 252-256 F 9/25 Commedia project discussion Week 6 M9/28 No Class – Millie load-in W 9/30 Work in groups F 10/2 Commedia performances Week 7 M 10/5 Theatre of the English Renaissance W/G 176-215 W 10/7 Bedford – Christopher Marlowe and Dr. Faustus 265-295 F 10/9 Bedford – Shakespeare and A Midsummer Night’s Dream (and commentaries) 296-337 Week 8 M 10/12 Major Exam review W 10/14 Work on Group Teaching Projects F 10/16 Work on Group Teaching Projects Week 9 M 10/19 No Class – Millie Strike W 10/21 Major Exam F 10/23 Fall Break – No Class Week 10 M 10/26 Spanish Golden Age (W/G Chapter 7) – Teaching Group 1 W 10/28 French Neoclassical Theatre (W/G Chapter 8) – Teaching Group 2 F 10/30 Bedford - Moliere and Tartuffe (and commentary) 509-538 Week 11 M 11/2 Theatre of the English Restoration (W/G Chapter 9) – Teaching Group 3 W 11/4 Bedford – Aphra Behn and The Rover (and commentary) 539-582 F 11/6 Wrap-up English Restoration Week 12 M 11/9 Writing Workshop W 11/11 Theatres in the 18th Century (W/G Chapter 10) – Teaching Group 4 F 11/13 Wrap-up 18th Century Week 13 M 11/16 Research Day W 11/18 Research Day F 11/20 Peer Review Day Week 14 M 11/23 Course review for final exam W 11/25 Thanksgiving Break F 11/27 Thanksgiving Break Week 15 M 11/30 Dead Diva Presentations W 12/2 Dead Diva Presentations F 12/4 Dead Diva Presentations – Last Day of class Final Exam: 8-9:45 am Wednesday, December 9