THE 322: Theatre, History & Culture Syllabus · THE 322: Theatre, History & Culture Syllabus...
Transcript of THE 322: Theatre, History & Culture Syllabus · THE 322: Theatre, History & Culture Syllabus...
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THE322:Theatre,History&CultureSyllabus
SyllabusContents:
CourseDescription 1InstructorInformation 1CourseObjectives 2GradingBreakdownandScale 2ClassroomExpectationsandCoursePolicies 3SemesterataGlance 4CourseMaterialsandWheretoFindThem 7UnitThemes,Materials,DiscussionPrompts,PaperPrompts 10
AssignmentPromptsandInstructions 18CourseChecklistDocument 21MLAReviewDocument 23ProductionReviewGuidelinesDocument 24
CourseDescriptionTheatre,HistoryandCultureisa7.5weekintensiveupper-levelcoursedevotedtotheexaminationoftheatreasbothacultural/artisticexpressionandmechanismofsocialchange.Giventherangeanddiversitytheclasscovers,theclassfocusesontheroleofwomenasculturalproducersintheatreandperformance.Asafull3-creditclass,theworkloadofafullsemesteriscondensedinto7.5weeks.Toestimateworkload,studentsareadvisedtoplanreadingsinadvanceandtopurchaseallnecessarytextbooksimmediately.Forafulllistofmaterialsandwheretofindthem,see“CourseMaterials”Note:Therearenoexamsinthisclass.InstructorInformationName: MaryStephensContact: [email protected]/Hours: Byappointmentviaemailonly
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CourseObjectives
1. Identify,define,andapplykeytermsandtheories Assessment:DiscussionPosts,UnitPapers(ListA)
Instruction:VideoandIntroductoryNotes,AssignedReadings2. Interpretawidespectrumoftheatrehistoryincludingkeytexts,traditions,events,and
influencesAssessment:AllwrittenworkInstruction:VideoandIntroductoryNotes,AssignedReadings,ModerationofDiscussion
3. Assessarangeofmaterialsforinformation,connectingtocoursethemesinandacrossunits Assessment:UnitPapers,Midterm/Final,DiscussionPosts
Instruction:VideoandIntroductoryNotes,AssignedReadings4. Discussanddebatearangeofideasconnectedtocoursecontent
Assessment:DiscussionPostsInstruction:VideoandIntroductoryNotes,AssignedReadings,ModerationofDiscussion
5. Locate,identify,andexplainoutsidesourcesasconnectedtocoursematerialsandcentraltheories
Assessment:UnitPapers(ListB),Midterm/FinalInstruction:VideoandIntroductoryNotes,AssignedReadings,ModerationofDiscussion,Midterm/FinalGuidelines
6. Produceindependentwrittenwork(scholarlyandcreative)withMLAformatting Assessment:UnitPapers(ListB)Midterm/Final
Instruction:Midterm/FinalGuidelines,AssignedReadings,WritingGuidelinesGradingBreakdown:
Assignment IndividualValue OverallCourseValueDiscussion(10posts) Postsare1% 10UnitResponseQuestions(8) 7.5% 60FinalAssignment 10% 20Review 10% 10 Total: 100%GradingScale:A+98-100% B+87-89% C+77-79% D+67-69% E59%orbelowA93-97% B83-86% C73-76% D63-66% A-90-92% B-80-82% C-70-72% D-60-62%ClassroomExpectationsandCoursePolicies
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Studentsareexpectedto:
• Completeallassignedreadingsbytherequireddates• Submitallwrittenworkontimewiththecorrectfileformatting• Berespectfulandprofessionalinalldiscussionboardinteractions,emails,etc.• Contacttheinstructorimmediatelyifquestionsorconcernsariseregardingcontentor
assignments• ContacttechnicalassistanceforquestionsorconcernsregardingBlackboard• FollowtherulesofASU’spolicyforstudentconduct:
https://eoss.asu.edu/dos/srr/codeofconductStudentsarerecommendedto:
• Planinadvanceforreadings,performanceattendance,andwrittenassignments• Purchasetextsimmediatelyinordertocompleteassignedreadingsontime• Avoidprocrastination
BecausethiscourseisentirelydeliveredviatheInternet,youareresponsibleformakingsurethatthecomputeryouusetoaccessallcoursematerialsmeetsorexceedsthespecifiedcomputerminimumqualificationsaslistedonthecoursewebsite.Ingeneral,acomputerpurchasedandinthelast3-5yearsandcontinuouslyupdatedviaupdatesfromtheoperatingsystem(Mac,Windows)vendorwillsuffice.Also,duetothehighmediacontentofthiscourse,youwillberequiredtosetupandconfigureamediaplayerthatwillconsistentlyplaythemediafilesdeliveredviathecoursewebsite.Pleasenote:Youarehighlyencouragednottoenroll,ortodropimmediately,ifyoudonothavecomputerexperience,orifyouarenotwillingorpreparedtoassumetheaddedresponsibilityofacomputer-basedcourse.Necessaryrequiredskillsincludedownloadingmp3s,surfingthenet,conferringviaemail,andotherintermediatecomputerknowledge.
HIGH-SPEEDCONNECTIONNOTE:Ahigh-speedInternetconnection(cable,ISDN,fiberoptic,etc.)isstronglyadvised.Itmaybepossibletocompletethiscourseonslowerconnections,howeverHerbergerOnlinewillnotbeabletooffersupportshouldyourconnectionbetooslowtoreceivethecoursematerials.Duetothenatureofthecourse,thesiteisverymediaintensive.Allexamsandvirtuallyalllessonsincludeseveralmediaelementsthatmaybesloworvirtuallyimpossibletodownloadonaslowerconnection.Inadditiontoexams,eachlessoncontainsoneormoremediacomponents.Theserequiretheabilitytodownloadorstreamandlistentomodernaudiofiletypesonyourcomputer(mp3,mp4,m4a).YouarerequiredtohavetheFlashplug-ininstalledonyourbrowser.MostbrowserscomewithaFlashplug-inpreinstalled,howeverifyourbrowserdoesnothaveit,youwillneedtodownloadandinstallitonyoursystem.YoucandownloadtheFlashplug-inforyourbrowserat:https://get.adobe.com/flashplayer
ThecomputerhelpFAQdocumentlinkedonthecoursewebsiteontheHelpPage,isrequiredreadingforthiscourse.Readthisdocumentforadditionaltechnicalinformation.
Fortechnicalassistance:
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Pleasedonotcontactyourinstructorwithtechnicalquestions.HerbergerOnlinehandlesalltechnicalquestionsandissuesthatmayariseinthiscourse.
Pleasecontactthesupportteamimmediatelyifyouencountertechnicalissueswhilecompletinganassignmentandyouareunabletoresolvetheproblemandresetyourwork.
TheHerbergerOnlinesupportteamisavailabletoassistyou24hoursaday,365daysayear.Youmayreachthemanytimeat:
• [email protected]• https://courses.hol.asu.edu/help/• 1-888-298-4117• 480-965-3057(International)
Whencontactingsupport,pleaseprovide:
• Thefullnameofthiscourse(ABC123:LongName)• Thetitle(s)ofanyassignment(s)you’rehavingtroublewith• Abriefdescriptionoftheproblem• Detailed,step-by-stepinstructionstoreproducetheproblem
SpecialAccomodations
Torequestacademicaccommodationsduetoadisability;pleasecontacttheASUDisabilityResourceCenter(Phone:(480)965-1234;TDD:(480)965-9000).Thisisaveryimportantstep,asaccommodationscannotbemaderetroactively.Ifyouhavealetterfromtheirofficeindicatingthatyouhaveadisabilitywhichrequiresacademicaccommodations,pleasepresentthelettertomenolaterthantheendofthefirstweekofthesemestersowecandiscusstheaccommodationsthatyoumightneedinthisclass.
AssignmentSubmissionandLatePolicy:Allassignmentsinthiscoursemustbesubmittedas.docor.docxfile.Assignmentsthataresubmittedelsewhereordonotcomplywiththerequiredformattingwillnotbeacceptedandwillresultinagradeofzeroforthatassignment.LateworkwillnotbeacceptedwiththeRAREexceptionofextenuatingcircumstanceswithproof.AcademicIntegrityThiscoursehasazero-tolerancepolicyonplagiarism.“Forgetting”tociteareference—includingthecoretextbook—isconsideredplagiarism.Allnecessaryandappropriatesanctionswillbeissuedtoallpartiesinvolvedwithplagiarizinganyandallcoursework.PlagiarismandanyotherformofacademicdishonestythatisinviolationwiththeStudentCodeofConductwillnotbetolerated.http://www.asu.edu/studentaffairs/studentlife/judicial/academic_integrity.html
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DonotshareyourcourseIDandpasswordwithanyone.Logoutofthecoursewebsitewhenyouarefinishedwithit.Donotallowanotherstudenttousethecoursewebsiteunderyourpassword,evenifs/heisalsointhecourse.Eachstudentisfullyresponsibleforallactivitythattakesplaceonthecoursewebsiteunderhis/heruserID.Theminimumconsequenceofplagiarismisfailureinthisclass,withadesignationofAcademicDishonesty.ForinformationorquestionsregardingASU’spolicyforacademicintegrity:https://provost.asu.edu/academicintegrity
SemesterataGlanceTheatre,History&Cultureisa7.5weekintensiveupper-levelcourse,dividedintofourunits,devotedtotheexaminationoftheatreasbothacultural/artisticexpressionandmechanismofsocialchange.Overthe7.5weeksofthecourse,Studentswillcomplete:
8UnitResponseQuestions(4fromListA,4fromListB)10DiscussionBoardPosts1FinalAssignment1ProductionReview
UnitOverviews
Unit1Unit1inTHE322(weeks1&2)correspondstoPart1ofTheatreHistories:AnIntroductionwhichemphasizesperformancesinoralandmanuscriptculturesupuntil(approximately1600CE).
Unit2Unit2inTHE322(weeks3&4)correspondstoPart2ofTheatreHistories:AnIntroductionwhichemphasizestheatreandperformanceinearlyprintcultures,rangingapproximatelyfrom1500CEtomid1700CE.
Unit3Unit3inTHE322(weeks5&6)correspondstoPart3ofTheatreHistories:AnIntroductionwhichemphasizestheatreandperformanceinperiodicalprintcultures,rangingapproximatelyfrom1700CEtotheearly1900sCE.
Unit4Unit4inTHE322(weeks7&8)correspondstoPart4ofTheatreHistories:AnIntroductionthatemphasizestheatreandperformanceinelectricandelectroniccommunicationculture,rangingapproximatelyfromthemid1800sCEtotoday.DiscussionBoard
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Overthecoursestudentswillwriteten(10)DiscussionBoardresponses(roughly1.5eachweek),studentswillwrite100wordresponsestoaprovidedprompt.Thisworksouttoonepostandonereplyperweek.Promptsfordiscussionmaybeshortwrittenprompts,videos,articles,etc.andmaybeadaptedbytheinstructorofrecord.DiscussionresponsesandrepliesmaybemoreconversationalintonethanUnitorAssignmentresponses.Postsandrepliesarecounted,thoughtheircontentisnotgraded;however:failuretoadheretotheacademiccodeofconductwithintheseresponses/replieswillbemetwithzerotolerance.UnitResponsePapers
ThesemesterisbrokenintofourcentralunitscorrespondingwiththefourmainPartsoftheTheatreHistoriestextbook.Attheendofeachunit,studentsarerequiredtocompleteandsubmitviaBlackboardatotaloftwowrittenresponsestoarangeofprovidedprompts.Eachresponseshouldbeatleast250words(approximately4paragraphs).PromptsaredividedintoListAandListB,whereListAemphasizescloseunderstandingofthecentraltextbookandListBrequiresadditionalreadings.Studentswillcompleteone(1)ListApromptsandone(1)ListBpromptforeachUnit.Studentsshouldsubmitallresponsesinthesamedocument,postingthequestionsabovetheresponsethattheyhaveselectedtorespondto.ListA
Pickingfromarangeofprompts,studentswillselectone(1)torespondto.ResponseswillbewrittenwithappropriateMLAformattingandbeacademicinlanguage.Failuretouseappropriateformattingorlanguagewillresultinadecreasedgrade.Approximatelengthofasuccessfulresponseis3paragraphs,withtopicsentencesandfullydevelopedthoughts.
ListBPickingfromarangeofprompts,studentswillselectone(1)torespondto.Tocompletethepromptstudentswillconductanyadditionalreadingorwatchingrequired.ResponseswillbewrittenwithappropriateMLAformattingandbeacademicinlanguage.Failuretouseappropriateformattingorlanguagewillresultinadecreasedgrade.Approximatelengthofasuccessfulresponseis4paragraphs.
FinalAssignmentFinalAssignmentrequirestudentstorecognize,recallandretrieve(remember)informationacrossUnitsandproduceacreativeresponseusingdramaticforms.Thiswillrequirestudentstousefactualknowledgefromtheunitsandreadings,conceptualknowledgeinrelatingtheunitinformationandideastospecificindepthtopic,andproceduralknowledgeintermsofwritingandresearchskillsandtechniques.TheFinalAssignmentwillexpandyourunderstandingoflesserknowntheatreandartforms.Bothrequireadditionalsourcesandreadings.FinalAssignmentsis6pageseach,titlepageandbibliographydoNOTcounttowardpagerequirement.MLAformattingisrequired.(SeeMLAReviewSectionforguidance)
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ProductionReviewStudentswillcompleteoneproductionreviewcoveringaliveperformanceofthestudent’schoosing.Studentsshouldseekouttheatreintheirareaandkeepinmindthatticketsmayrequirepurchasinginadvancetoensureaseat.Reviewassignmentwillrequirestudentsusingaracial,gendered,sexuality,orclasslenstoreviewthework.ReviewformattingshouldfollowMLAguidelinesaswellasaddressallcomponentsofagoodreview(detailsofwhichwillbeprovidedassupplementalmaterial).Theapproximatelengthofasuccessfulreviewis1page.Detailedguidelinesappearinthe“ProductionReviewGuidelines”section.Forstudentswhoareunabletoattendlivetheatreintheirarea,theoptiontoscreenarecordingofaperformancewillbeprovidedbytheinstructor.Studentsareheavilyencouragedtoseealiveperformanceifatallpossibleasrecordingsdonotofferthesameexperience.CourseMaterialsandWheretoFindThemTextsorscreeningsthatmayrequirepurchasetoaccessareinbold.StudentsshouldknowthatwhilethesetextsmaybeavailableforpurchaseattheASUBookstore,theymightalsobeavailableelsewherewithdifferentpricing.CoreRequiredTextbook:TheatreHistories:AnIntroduction,ThirdEdition,TobinNelhausgeneraleditor.(Amazonistheleastexpensiveandcheapestoption)*PleasenotethatstudentsMUSThavethethirdeditioninordertocompletethereadingsforthisclass
Unit1Title Location Notes
1-66;67-137TheatreHistories:AnIntroduction,ThirdEdition,TobinNelhaus,generaleditor
Availableforpurchaseonline RequiredReading
13-27;55-93fromUnthinkingEurocentrismbyEllaShohatandRobertStam
ASULibraryOnline UnitResponsePaperOption
LysistratabyAristophanes ProjectGutenbergOnline UnitResponsePaperOption
UNESCOVideoofTheRabinalAchi
UNESCOWebsite DiscussionBoardOption
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Unit2
Title Location Notes
143-184;185-246TheatreHistories:AnIntroduction,ThirdEdition,TobinNelhaus,generaleditor
AvailableforpurchaseattheASUBookstoreoronline
RequiredReading
Tartuffe;Or,TheHypocritebyMolière
ProjectGutenbergOnline UnitResponsePaperOption
TheRoverbyAphraBehn ProjectGutenbergOnline UnitResponsePaperOption
TheLoatotheDivineNarcissusbySorJuanaInésDeLaCruz
THE322CourseReserveviaASULibrary
UnitResponsePaperOption
Televisionshows(various) MaybeavailableforscreeningorforpurchasethroughNetflix,YouTube,Amazon,etc.
DiscussionBoardOption
Unit3Title Location Notes
251-324;325-392TheatreHistories:AnIntroduction,ThirdEdition,TobinNelhaus,generaleditor
AvailableforpurchaseattheASUBookstoreoronline
RequiredReading
SacredBloodbyZinaidaGippius THE322CourseReserveviaASULibrary
UnitResponsePaperOption
RichardIIIbyWilliamShakespeare
ProjectGutenbergOnline UnitResponsePaperOption
PhèdrebyJeanRacine ProjectGutenbergOnline UnitResponsePaperOption
“Here’stotheGirls”ZiegfeldFollieswithLucilleBall,FredAstaire,andCydCharisse
YouTubeLinkTBA
DiscussionBoardOption
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Unit4
Title Location Notes
397-510;511-582TheatreHistories:AnIntroduction,ThirdEdition,TobinNelhaus,generaleditor
AvailableforpurchaseattheASUBookstoreoronline
RequiredReading
“CoupleinaCage” https://vimeo.com/79363320 UnitResponsePaperOption
GuerillaGirls’2016Videos GuerrillaGirlsWebsite,Projectshttp://www.guerrillagirls.com/projects/
UnitResponsePaperOption
“Aristotle’sCoerciveSystemofTragedy”fromTheatreoftheOppressedbyAugustoBoal
ASULibraryOnline UnitResponsePaperOption
DetailsCannotBodyWantsbyChinWoonPing
THE322CourseReserveviaASULibrary
UnitResponsePaperOption
AdrianPiper MythicBeing(1973) Youtube:https://www.youtube.com/watch?v=jVcXb8En_Tw
“WhyShouldn’tWeCommitSuicide?(DonkeyKong&TheMythofSisyphus)”by8-BitPhilosophy
Youtubehttps://www.youtube.com/watch?v=KI25easQs2k
DiscussionBoardOption
TheRevolutionaryTheatrebyAmiriBaraka
NationalHumanitiesCenter ClickHereforDocument
PrepforFinalAssignmentTitle Due:Monday,Sept.10
(midnight)Notes
2paragraphsoutliningwhatyouwillwriteaboutforyourfinalpresentation.
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FinalAssignmentTitle Location Notes
Makingtheatrematter Write6pagesaboutthehistoryofwomenintheBlackArtsMovement:
SoniaSanchez
AdrianPiper
AdrienneKennedy
Thistopicwillrequireadditionalreadingsoutsideofyourtextbook.
MLAformat
TheatreHistories:AnIntroduction,ThirdEdition,TobinNelhaus,generaleditorAND
AtLeastThreeSecondarySources
Helpfulresources:https://www.nytimes.com/1995/11/12/magazine/a-manifesto-of-sorts-for-a-black-feminist-movement.html
Book:VisionaryWomenWritersofChicago’sBlackArtsMovement
ProductionReviewAssignmentTitle Location Notes
ZootSuitbyLuisValdez HemisphericInstituteDigitalVideoLibrary
http://hidvl.nyu.edu/video/000539572.html
ProductionReviewOptionifLivePerformanceisNotAvailable
Reverb-Ber-Ber-RationsbySpiderwomanTheater
HemisphericInstituteDigitalVideoLibrary
http://hidvl.nyu.edu/video/000086242.html
ProductionReviewOptionifLivePerformanceisNotAvailable
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UnitThemes,Materials,DiscussionPrompts,PaperPrompts
Unit1MainUnitthemes:
“History”asaconstructionImpactofwritingontheatreandperformanceaswellasonsocietyWhatrole(s)theatreservesinsocietyNon-westernunderstandingsofperformanceThepresenceofwomenintheatreasactorsorcharacters
OutsideMaterials: 13-27;55-93fromUnthinkingEurocentrism LysistratabyAristophanes
UNESCOvideoofTheRabinalAchiDiscussionPrompts:(Due:Friday,Jan.11)
1. Whatisa“ZombieIdea”andhowdoesthisimpacttheroleofthehistorian?2. Watchandrespondto:UNESCOvideooftheRabinalAchi
UnitPaperPrompts:(Due:Friday,Jan.18)ListA(CHOOSE1):Questionsareaboutassignedtextbookreadings,andyourresponsesshouldbeaboutrestating,identifying,explaining,and/orcomparingcorematerialsandthemes(i.e.,demonstrateyourunderstanding)
1. Inthegeneralintroduction,theauthorsidentify“history”asaconstructionofthetruth.Thatis,thehistorytheywriteisdeterminedbythewaysinwhichhistoriansselect,interpret,andorganizeevidenceintoanintelligiblenarrative,whereplausibilitydoesnotnecessarilyequateto“thewholetruthandnothingbutthetruth.”Usingeitheranexamplefromthetextbookorfromahistoricalevent/performance/objectyouknowof,explainhowtheprocessofselection,interpretationandorganizationaroundthecontributionsofwomenconstructshistoryaccordingtosystemsofpower.
2. Identify,usingspecificexamples,whatsocial,culturalorpoliticalchangestheuseofwritingproducedandhowthesechangesimpactedthedevelopmentanddisseminationoftheatrespecifically.
3. WomenarefrequentlymadeabsentfromdominantnarrativesofhistorybutasisshowninthecasestudyonDojojiweknowtherearefemaleoriginstoJapaneseNōtheatreandothertheatricalpractices.Reflectingbackontheauthor’sargumentof“history”asaconstructionofthetruth,howcanweunderstandtheerasureandtransformationofwomeninhistory?YoumayexpandontheDojojiexampleoruseoneofyourown.
ListB(CHOOSEONE):Questionsincorporateadditionalreadings/viewings,andyouareencouragedtoconnect,interpret,determine,illustrate,integrate,andusecoreideasandthemesacrossmaterials(i.e.applyyourlearningtoprovideananalysis).
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1. HavingreadAristophanes’Lysistrata,illustratehowreversalsofpower,conflict,andsexintertwineinthisplayinordertoproducecomedy.Inyouranswer,useatleastonetheoreticallensofferedbythetextbook(identifythisclearly)andpaycloseattentiontotherepresentationofwomenaswrittenbyamaleauthor.Usespecificevidencefromboththeplayandthetextbooktosupportyourresponse.
2. HavingreadtheexcerptsfromUnthinkingEurocentrism,identifyhownarrativesoftheatreorcivilization“beginning”inGreecemaybelinkedtothetenantsofeurocentrismandintegratehowstudyingperformancesliketheRabinalAchiworktodisruptEurocentricnotionsofhistory.InyouransweryoumayuseanalternativeexamplefromyourowncommunityorculturalcontextinsteadoftheRabinalAchiaslongasyouarespecificanddetailedinyourexampleandanalysis.
Unit2Mainthemes:
Absolutism’spositiveandnegativeeffectsontheatreTheimpactofprintingonsocietyandtheatrePerformancesofgenderandsexualityinthetheatreStockcharactersandtheirusesincomedyandthecarnivalesqueTheAmericas’contributionstotheatrehistory
OutsideMaterials: Tartuffe;Or,TheHypocritebyMolière LoatoTheDivineNarcissusbySorJuanaInésDeLaCruz Televisionshows(various,availableviaNetflix,YouTube)DiscussionPrompts(Due:Friday,Jan.25)
1. Discussthefollowingquoteinrelationtothereadingsandyourownknowledgeoftheatreandperformance:“Afterprint,performancewasneverthesame”(151)
2. Commediadell’arteandstockcharactershavebeeninfluentialtothisday!WatchanepisodeofFuturama,Frasier,orTheSimpsonsandidentifyatleastthreecommediadell’arteinspiredcharactersanddiscussatleastoneindetail.Howdoesthetelevisionshow’sinterpretationdifferfromthecommediacharacter?
UnitPaperPrompts(Due:Friday,Feb.1)ListA(CHOOSE1):Questionsareaboutassignedtextbookreadings,andyourresponsesshouldbeaboutrestating,identifying,explaining,and/orcomparingcorematerialsandthemes(i.e.,demonstrateyourunderstanding)
1. KingLouisXIVfamouslyboasted,“Iamthestate”(TheatreHistories214).HisclaimisindicativeofaruleofabsolutisminFrancethatproducedamonopolybymonarchsandreligiousinstitutionstocontrolthepopulace.Absolutisminthetheatreledthecensorshipoftheatricalexpression,whichinturnpromptedtheatricalinnovationsinceonlywhatwasapprovedbythestatecouldbeproduced.Usingaspecificexampleofyourchoice,identifyandexplainhowabsolutismcontributedtoeitherlimitingorexpandingtheatricalexpressionorinnovation,and
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connectthisexampletopracticesoflimitingand/orexpandinginnovationfoundtoday.YoudonothavetolimityourresponsetoabsolutisminFrance.
2. Chikamatsuisquotedonpage182asstating,“Artissomethingthatliesintheslendermarginbetweentherealandtheunreal.”UsingthisquotationandacasestudyfromChapter4,5,or6,restatehowbalancingbetweentherealandtheunrealisachievedandtowhataffectthisimpactsperformancesofgenderorsexuality.
ListB(CHOOSE1):Questionsincorporateadditionalreadings/viewings,andyouareencouragedtoconnect,interpret,determine,illustrate,integrate,andusecoreideasandthemesacrossmaterials(i.e.applyyourlearningtoprovideananalysis).
1. HavingreadtheLoatoTheDivineNarcissusbySorJuanaInesdelaCruz,analyze(usingspecificexamples)howitfunctionsasacommentaryonthesuccessofSpanishreligiousconquestofindigenousAmericansandwhythisplay,anditsauthor,remainimportanttotheAmericasandtheatrestudiestoday.
2. Chooseoneofthefollowingplaystoreadandrespondto:a. TheRoverbyAphraBehnb. Tartuffe;Or,TheHypocritebyMolière
Inyourresponse,definethecarnivalesqueandillustratehowitfunctionsintheplayusingspecificexamples.Inyouranswer,besuretoexplainhowthisplayworkswithinabsolutism(define)asasystemofpower.
Unit3
MainThemes:
NationsasimaginedcommunitiesInterculturalexchangeandappropriationintheatreandmediaasaproductofimperialismImpactofmedia(telephones,photography,etc.)ontheatreandsocialideasof“reality”Sentimentalismandmelodramaasmajortheatregenres,andtheobjectificationofwomenwithinthemRealism,Naturalism,avant-gardegenresoftheatrewhichattempttodistinguishbetweentheobjectiveandsubjectiveTheactorasanemergingpopularculturalicon
OutsideMaterials: SacredBloodbyZinaidaGippius
RichardIIIbyWilliamShakespearePhèdrebyJeanRacine “Here’stotheGirls”ZiegfeldFollieswithLucilleBall,FredAstaire,andCydCharisse
DiscussionPrompts:(Due.Friday,Feb.8)1. “Onemethodforcircumventingthelawwastosubstitutethefactsandcharacternamesina
contemporaryeventwiththosefromawell-knownhistoricalorlegendary“world.”Suchasubstitutioniscalledmitate.”(270-271).Dowestilldothistoday?Whyorwhynot?
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2. Watchandrespond:“Here’stotheGirls”ZiegfeldFollieswithLucilleBall,FredAstaire,andCydCharisse
UnitPaperPrompts:(Due:Friday,Feb.15)ListA(CHOOSE1):Questionsareaboutassignedtextbookreadings,andyourresponsesshouldbeaboutrestating,identifying,explaining,and/orcomparingcorematerialsandthemes(i.e.,demonstrateyourunderstanding)
1. BenedictAndersoncoinedthephrase“imaginedcommunities”inreferencetonationsandnationhood.Inparticular,heidentifiesprintedmediaasbuildingtheseimaginedcommunities.Usingoneofthethreedifferentkindsofnationalismcitedinthetextbook,explorehowtheatreparticipatedinthebuildingofimaginarycommunitiesforwomenofcolorintheatre.Bespecificinthekindofnationalismandthekindoftheatreyouarereferencing.
2. Usinganexamplefromchapters7,8,9,or10,explainwhat“theother”meansandhowitisconstructedaccordingtoimperialagendas.YoumayuseEdwardSaid’stheoryoforientalisminyourresponse.
3. Photographsandaudiophonicmediahadagreatimpactonthedevelopmentofseveralstrandsofavant-gardeandrealisttheatre.Chooseoneofthesestrands(Naturalism,Realism,Symbolism,Aestheticism,Expressionism,etc.)andexplorehowtheirusesorinclusionsofmediasoughttodefinerealitythrougheitherobjectiveorsubjectivemeans.
ListB(CHOOSE1):Questionsincorporateadditionalreadings/viewings,andyouareencouragedtoconnect,interpret,determine,illustrate,integrate,andusecoreideasandthemesacrossmaterials(i.e.applyyourlearningtoprovideananalysis).
1. ZinaidaGippius,seenastheco-founderofRussiansymbolism,wroteSacredBloodin1901—fouryearsbeforeBloodySundayandthefollowingRussianRevolutions.Inherplay,adividebetweenpaganandChristianworldsemergesasayoungrusalkaqueststogainanimmortalsoulthrougharelationshipwithapriest.Identifyhowandwhythethemesofgender,religion,andsymbolismintertwineinthisplaytoproduceanavant-gardeexplorationofcontactwith“theother”.Youwillbeexpectedtodefinesymbolismasamovement.
2. Chooseoneofthefollowingactoriconsandplaystheyareknownfor:c. DavidGarrick,RichardIIIbyWilliamShakespeared. SarahBernhardt,PhèdrebyJeanRacine
Readtheplayand,usingspecificpassagestosupportyourargument,determinehowa“star”actororactressaffectstheaudience’sinterpretationofthecharacterandtheoverallplot.Besurethatyouarefamiliarwiththespecificactororactressassociatedwiththeplayaswellastheplayitself.
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Unit4MainThemes:
Industrializationofelectricitycreatingnewmediumsandmodesofcommunication,theaftermathoftheWorldWars,otherwars,revolutions,genocides,etc.
Systemsoftheatre(andtheirmanifestos) Theatreasameansofactivismandprotest Theatreasazoneofcontactandofculturaldifferentiation Glocaltheatre(andtheeffectsofglobalizationontheatre,andviceversa)and“authenticity” ThecreationoftheInternetanditseffectonperformanceandcommunication Networkedculture–thepresence/absenceofbodiesOutsideMaterials: CoupleinaCageVideobyGuillermoGómez-PeñaandCocoFusco’s
“WhyShouldn’tWeCommitSuicide?(DonkeyKong&TheMythofSisyphus)”by8-BitPhilosophy“10Game-ChangingArtManifestos”byHarrietBakerGuerillaGirls’2016Videos“Aristotle’sCoerciveSystemofTragedy”fromTheatreoftheOppressedbyAugustoBoalAnowabyAmaAtaAidooDetailsCannotBodyWantsbyChinWoonPin
DiscussionPrompts:(Due:Friday,Feb.22)1. Imagineyou’reonTwitter.Using140characters,createananodrama.Theonlyruleisthatit
mustinvolveapuppy.2. Watch“WhyShouldn’tWeCommitSuicide?(DonkeyKong&TheMythofSisyphus)”by8-Bit
PhilosophyontheAlbertCamus’ideasonabsurdity.Howdoesthisvideoconnecttotheatreoftheabsurd?
3. Watchandrespondtothe“AlexanderHamiltonRap(Whitehouseversionwithsubtitles)”.Whilemegamusicalsareoftenconsideredtobe‘purelyforentertainment’,Hamiltonisgainingareputationforresistingthisnorm.Howisthismusicalre-imagininghistoryandwhymightitbeparticularlyimportantinthisvenue?
UnitPaperPrompts:(Due:Friday,Feb.22)ListA(CHOOSE1):Questionsareaboutassignedtextbookreadings,andyourresponsesshouldbeaboutrestating,identifying,explaining,and/orcomparingcorematerialsandthemes(i.e.,demonstrateyourunderstanding)
1. UnaChaudhuriusestheword“geopathology”todiscusshowideasofnationality,selfhood,andplaceareidentifiedassomewhatnebulous(ornotfixed)sincetheirphysicalandideologicalboundariesshiftovertime.Definetheterm“glocal,”andusingatleastoneexamplefromthetextbook,demonstratehowthe“problemofplace”isaddressedinnetworkedculture.
2. Usinganexamplefromchapters11,12,13,14,or15discussthewaysinwhich“authenticity”isleveragedintheatreandperformanceandassesswhatethicalimplicationsarisefromthisprocess.Itissuggested(thoughnotrequired)thatyouwatchGuillermoGómez-PeñaandCocoFusco’sCoupleinaCagevideotoaidinyourresponse.
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3. Theatreisdescribedinthefinalsectionofthetextbookasfunctioningasazoneofcontact,includingmulticultural,intercultural,andhybridtheatre.Defineeachofthesekindsof“contact”andcomparetheirresultsusingyourownexamples(nottheexamplesfeaturedinthetextbook).
4. InPartIVofthetextbook,bodieshavebecomeincreasinglyimportantinperformanceartandyetsimultaneouslyabsentduetonetworkedculture.Selecttwowaystheatreshaveadaptedtonetworkedcultureandargueeitherfororagainsttheneedofpresentbodiestomaketheatre.
ListB(Choose1)Questionsincorporateadditionalreadings/viewings,andyouareencouragedtoconnect,interpret,determine,illustrate,integrate,andusecoreideasandthemesacrossmaterials(i.e.applyyourlearningtoprovideananalysis).
1. Manydifferenttheatrecompanies,playwrights,andactorsdiscussedinthetextbookhavesoughttodesignnewstrategiesfortheatre,reconsideringandreinventingthelimitationsandexpectationsofwhattheatreorartisorisnotsupposedtodo/be.TheGuerillaGirlshavebeenworkingsincethemid1980’stomakespaceforwomeninthecontemporaryartworldwithamanifestoto“revealtheunderstory,thesubtext,theoverlooked,andthedownrightunfair”(guerillagirls.com)andbreakdowntheillusionofhistoryasbeingcomplete.Havingread“Aristotle’sCoerciveSystemofTragedy”fromAugustoBoal’sTheatreoftheOppressedandwatchedthetwovideosfromtheGuerillaGirls,discuss(usingspecificexamples)howtheGuerillaGirl’stacticsdisrupttheartworld’scoercivesystem.
2. Chooseoneofthefollowingplaystoreadandconnectbacktothetextbook:a. AnowabyAmaAtaAidoob. DetailsCannotBodyWantsbyChinWoonPing
Usingspecificpassagesorexamplesfromboththeplayandthetextbooktosupportyourargument,discusshowthecentralwomennegotiateidentitiesthatarecaughtbetweentheworldsofpower.Youmayfocusyourargumentonthemessuchastradition,consumerism,nationhood,patriarchy,etc.
AssignmentPromptsandInstructions
FinalAssignmentFinal:(Tuesday,Feb.26)Objectives:recognize,recall,andretrieveinformationacrossUnits3and4,utilizesecondarysourcesandexerciseresearchskills,toproduceacreativeresponseandjustificationofaspecifictopicInstructions:Instructions:UsingsupportfromTheatreHistories:AnIntroduction(Parts3and4)aswellasatleasttwosecondarysources,writea6pagecreativeresponsetothefollowingprompt.Prompt:
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Throughouthistory,theatrehasbeenusedtograpplewithsocialandpoliticalthemes.Inthispaper,pickoneofthefollowingpromptsandwrite6pagesaboutthehistoryandcontributionofoneofthe
followingtheatre/artsmovements:WomenoftheBlackArtsMovement
ProductionReviewReview:(Feb.26)Objectives:recognizetheatricalstructuresandconventions,incorporateandapplytextbookreadingstoaspecificperformance,followconventionsforreviews.Instructions:Writea1pagereviewofaliveperformance.SeeProductionReviewGuidelinesfordetails.Ifyouareunabletoattendaliveperformance,youmaycompletea2pagereviewofeither:
ElTeatroCampesino’sproductionofZootSuitbyLuisValdezORSpiderwomanTheatre’sReverb-Ber-Ber-Rations
BothareavailableontheHemisphericInstitute’sDigitalVideoLibrary.YoumustuseMLAformattingandhaveaworkscitedpage.Important:Bespecificaboutthe“liveness”oftheevent(or,ifcompletingthereviewofZootSuitorReverb-Ber-Ber-Rations,thefactthatitisnotlive).
THE322:Theatre,History&Culture-CourseChecklistUsethefollowinglisttokeepontopofassignmentsandreadingsoverthecourseofthesemester.Colorsreflectpartcolors.
Unit1 Readings AssignmentsWeek1 1-66fromTheatreHistories:AnIntroduction,ThirdEdition,Tobin
Nelhaus,generaleditor
□ DiscussionPost□ DiscussionReply
Week2 67-137fromTheatreHistories:AnIntroduction,ThirdEdition,TobinNelhaus,generaleditor
□ DiscussionReply□ 1ListAResponses
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LysistratabyAristophanesOR13-27;55-93fromUnthinkingEurocentrismbyEllaShohatandRobertStam
□ 1ListBResponses
Unit2 Readings AssignmentsWeek3 143-184fromTheatreHistories:AnIntroduction,ThirdEdition,
TobinNelhaus,generaleditor□ DiscussionPost□ DiscussionReply
Week4 185-246fromTheatreHistories:AnIntroduction,ThirdEdition,TobinNelhaus,generaleditorTheLoatotheDivineNarcissusbySorJuanaInésDeLaCruzORTartuffe;orTheHypocritebyMolièreORTheRoverbyAphraBehn
□ DiscussionReply□ 1ListAResponses□ 1ListBResponses
Unit3 Readings AssignmentsWeek5 251-324fromTheatreHistories:AnIntroduction,ThirdEdition,
TobinNelhaus,generaleditor□ DiscussionPost□ DiscussionReply
Week6 325-392fromTheatreHistories:AnIntroduction,ThirdEdition,TobinNelhaus,generaleditorSacredBloodbyZinaidaGippiusORRichardIIIbyWilliamShakespeareORPhèdrebyJeanRacine
□ DiscussionReply□ 1ListAResponses□ 1ListBResponses
Unit4
Readings AssignmentsWeek7 397-510fromTheatreHistories:AnIntroduction,ThirdEdition,
TobinNelhaus,generaleditor□ DiscussionPost□ DiscussionReply
Week8 511-582fromTheatreHistories:AnIntroduction,ThirdEdition, □ DiscussionReply
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TobinNelhaus,generaleditorGuerillaGirls’2016videosAND“Aristotle’sCoerciveSystemofTragedy”fromAugustoBoal’sTheatreoftheOppressedORAnowabyAmaAtaAidooORDetailsCannotBodyWantsbyChinWoonPing
□ 1ListAResponses□ 1ListBResponses
FinalAssignment□ DUE:Feb26
ProductionReview□ DUE:Feb.26
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THE322:Theatre,History&Culture-MLAReviewBelowareimportantlinksonMLAformattingforacademicwriting.PleasenotethatMLAformattingisrequiresforALLwrittenassignmentsinthiscourse.MLAStyle:https://owl.english.purdue.edu/owl/section/2/11/MLAWorksCitedPage:BasicFormat:https://owl.english.purdue.edu/owl/resource/747/01/MLAIn-TextCitations:TheBasics:https://owl.english.purdue.edu/owl/resource/747/02/MLAFormattingQuotations:https://owl.english.purdue.edu/owl/resource/747/03/MLAEndnotesandFootnotes:https://owl.english.purdue.edu/owl/resource/747/03/MLASamplePaper:https://owl.english.purdue.edu/owl/resource/747/13/
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THE322:Theatre,History&Culture-ProductionReviewGuidelinesBelowareimportantcomponentstoasuccessfulProductionReview.PleasenotethatMLAformattingisrequiredforthisassignment.BasicInformation
• Nameofproduction,location,date,anddirector.• Giveabriefoverviewoftheperformance–overallplot,theme,orkeyideabutNOTasummary.• Keyelementsoftheproduction/unusualelementssuchasmedia,audiencerelationshipetc.• Ifyoudiscusscharacters,listtheactor’snamethatplayedthecharacter.• Ifyoudiscussdesign,namethedesigners.• Citespecificexamplesfromtheperformancetosupportyourargument.
DramaturgicalResearch
• Informationabouttheplaywright/screenwriter.• Informationaboutthegenre.• Informationaboutthehistoricaltimeperiod.
PreparingtoWriteTobecomeacriticalobserver,trythefollowing:
• Takenotes(duringintermission/aftertheshow).• Takenotesregardingset,costumes,lights,acting,anddirectingchoices.• Lookatprogramnotes–didthedirectorachievetheirintentions?• Whatmoments/imagesdoyourecall?
MethodsofAnalysis
1. Gather(gatherinformation/images/ideas).2. Interpret(analyzewhattheinformationmeans).3. Evaluate(whyisitimportant?Whatisthevalue?).4. Communicate(criticallyandclearlysharetheseobservationswithothers).
Changestothesyllabus
Thesyllabusisanimpliedcontractbetweentheinstructorandthestudent.Consequently,itwillnotchangeinanysignificantwayoverthedurationofthecourse.However,therearetimeswhenminormodificationsneedtobemade.Thisbeingthecase,theinstructorwilldoeverythinginhispowertokeepchangestoaminimum.Ifandwhentherearechanges,studentswillbeadvisedbyemail.
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SEMESTERCHECKLIST
10DISCUSSIONBOARDPOSTS
4UNITREVIEWASSIGNMENTS@2QUESTIONSEACHFORTOTALOF8UNITREVIEWQUESTIONS
1MID-TERMASSIGNMENT
1FINALASSIGNMENT
1PRODUCTIONREVIEWASSIGNMENT
ImportantNote:Anyformofacademicdishonesty,includingcheatingandplagiarism,maybereportedtotheofficeofstudentaffairs.Coursepoliciesaresubjecttochange.Itisthestudent’sresponsibilitytocheckHOLMSforcorrectionsorupdatestothesyllabus.AnychangeswillbepostedinHOLMS.