World Theatre: History and Literature II Dr. Ray T. Schultz
TH 3102 Spring 2002 4 [RW1] credits Office: HFA m 105 b
MWF 10:30-11:35 a.m. HUM 12 Ph: x6267 E-m: schultzr
Office Hours: Mon. 1 - 2:30 p.m.; Thurs. 10 - 11:30 a.m. & by appt.
I. COURSE GOALS/OBJECTIVES.
This course will broaden your knowledge and appreciation of the Western
stage--from the 18th century, through to the 19th and the dawn of realism and naturalism, and up to the present—as well as select non-Western theatrical modes and traditions. We will survey the theatrical history and literature of these periods and cultures with an eye towards expanding not only your factual knowledge of specific people, plays, events, conventions, institutions, technologies, etc., but also towards enlarging your comprehension of how theatre may be shaped by the cultural, political, and aesthetic beliefs and practices of a particular historic moment--and how theatre may, in turn, impact a particular society. This course, then, aims to sharpen your critical thinking, writing, and research skills through a study of the past's theatrical practices and practitioners, social customs, and dramatic literature. Finally, this course will hopefully inspire and enable you to connect the ways in which the various threads of theatre's past (both distant and more recent) wind through successive periods right up to the "theatre history" of today. Some teaching methods include (but are not limited to) lecture; group discussion, activities, and projects; audio-visual presentations; and practical application of ideas.
II. REQUIRED TEXTS. (available in UMM bookstore)
Watson, Jack and Grant McKernie. A Cultural History of
Theatre. White Plains, NY: Longman, 1993.
Worthen, W. B., ed. The Harcourt Brace Anthology of Drama.
3rd ed. Fort Worth: Harcourt Brace, 2000. (plus 2 plays not in Worthen;
see schedule)
-- There will also be periodic handouts from me and some materials on reserve either in my office or in the Briggs Library that will be required reading.
-- The UMM Theatre Discipline’s production of The Laramie Project is also a required “text.” You must either participate in the production in some capacity or see a performance of it.
-- A notebook to store reading and lecture notes, assignments, ideas, etc. is required; I reserve the right to collect or peruse notebooks at various points during the semester; productive use of your notebook is not only encouraged but will be factored into your class participation grade.
-- You will also be required to make occasional copies of materials for assignments (a minimal expense.)
III. COURSE REQUIREMENTS/ASSIGNMENTS/GRADES.
Requirements:
A. Class attendance, participation, presentations, and conferences.
B. Readings in texts, handouts, and reserve materials.
C. Mid-term and final exams.
D. A substantial research paper.
E. A dramatic literature presentation and short paper.
F. A Team research project/presentation.
G. Theatre History Correspondent assignment.
H. Laramie Project attendance/assignment.
Grading Breakdown (250 points max):
A. Class participation and attendance 20 points
B. Exams (2 @ 50 pts.) 100 pts.
C. Research paper 50 pts.
D. Quizzes 10 pts.
E. Team research project 30 pts.
F. Dramatic Lit. presentation/paper 25 pts.
G. Laramie Project assignment 10 pts.
H. Theatre History Correspondent 5 pts.
Grading Scale:
226-250 pts. = A 186-191 pts. = B- 157-164 pts. = D+
216-225 pts. = A- 181-185 pts. = C+ 147-156 pts. = D
201-215 pts. = B+ 171-180 pts. = C 141-146 pts. = D-
192-200 pts. = B 165-170 pts. = C- 0-140 pts. = F
--Students taking the course S/N must receive a C- in order to pass.
Class Attendance/Performance: Attendance in class is mandatory. Because participation and discussion are integral to this course, you are required to be prepared for class and actively participate: this means, first and foremost, keeping up with the readings and executing written and presentational assignments in a timely fashion. It additionally means contributing to class discussions and activities on a regular basis and taking notes on readings and lecture/discussions. You will also be required to schedule two individual conferences with me during the course of the term.
Class Presentations: You will give a variety of presentations for the class. Some will be graded (team project, play presentation, research paper findings, etc.) and some will be considered homework/in-class work (reporting on plays, chapters, theories, etc.). It is expected that you will be prepared, organized and thorough in your presentations. I recommend practicing them at least once outside of class to ensure that you adhere to all the guidelines and expectations (i.e. time limits, content, etc.) of the assignment. Feel free to be as creative (audio-visuals, performing, etc.) as you want to be in the style(s) of your presentations.
Exams: The midterm and final exam dates are listed on the schedule. They can/will consist of both objective and essay sections. You may also expect both announced and “pop” quizzes. These quizzes will consist of short, objective questions on the readings. (There will be no make-up exams without the proper written excuses; there will be no make-up quizzes under any circumstances.)
Team Research Project: You will be assigned and graded IN TEAMS.
Your team will present research to the class about a selected aspect of theatre/cultural history. Topics must be approved by me before the project begins. On the day of the presentation, you will also hand in to me a portfolio of any relevant notes, a TYPED bibliography, and a TYPED outline of the presentation that summarizes your important talking points. Each member of the class should also receive an outline and bibliography prior to the day of presentation. Additionally your team will be considered “resident experts” in a particular area and supply the class with summaries to be used for studying for exams. This assignment will be scheduled and discussed further in class.
Dramatic Literature Presentation: Each member of class will read one additional play from a period we are studying that is not on the assigned reading list. You will then give a presentation on the play to the class and develop your notes into a 2-3-page paper that emphasizes its literary and/or historical relevance. This assignment will be scheduled and discussed further in class.
Research Paper: You will write a 7-10 page research paper in MLA style on a topic of your choosing from the periods studied in class. You will present the research in class. I must approve your topic before you proceed. A research paper is a carefully constructed presentation of ideas that relies on primary and secondary sources for clarification and verification to support YOUR statements, theories and ideas (MLA Handbook). As such, it requires time, careful planning, research, writing and revision. There will be several components to this assignment: choosing/researching your topic, developing a bibliography, composing a first draft, a final draft, and giving a final in-class report. I’d suggest carefully examining the reading, class discussions, and other projects as possible sources of topic ideas. HINT: Start early and see me outside of class (i.e., your conferences) to work through the process.
Theatre History Correspondent Reports: Once during the semester you will serve as the class “Theatre History Reporter.” In a quick, five-minute segment, report on one or two theatre-related topic(s) of import: anniversaries, tributes, deaths, revivals; how theatre’s past is impacting the present. You may also report on any “theatre history” in the making—what new productions, trends, technologies, etc. have arrived or are on the horizon. There are many sources for this assignment: theatre magazines like American Theatre and In Theatre, journals like Theatre Topics, newspapers like the Friday or Sunday New York Times arts & leisure section, and web pages like playbill.com or “This Month in Theatre History” (www.artslynx.org/theatre/thechron.htm). This assignment consists of the oral report and a copy of either a TYPED summary or photocopies of blurbs/article/web page to be handed in on the day you give the report.
IV. POLICIES/GUIDELINES.
Attendance: You are allowed two unexcused absences. If you have between 3-5 unexcused absences, expect a point to be taken off your class attendance/ performance grade for each unexcused absence. For 6 or more, deduct two additional points for each unexcused absence. Punctuality is also vital; therefore, lateness past 20 minutes will be considered an absence. Three latenesses under 20 minutes will equal one absence.
EXCUSED absences are official WRITTEN excuses from the proper authorities (Chancellor’s office for activity participation and family emergencies, Health Services, doctor for serious illness, etc.) Only these official excuses will be accepted, but YOU still remain responsible for the work missed, including rescheduling of projects, make-up assignments, exams, etc. Consult the UMM bulletin for further details.
Assignments/Tests:
--All outside written work (unless stated otherwise) should be typed, double-spaced, and have one-inch margins. Papers should document sources in MLA style. Please use a readable font in 12-point size. Please submit your papers stapled to a cover page. Make use of spell check and proof read your written work; excessive mechanical/grammatical errors will adversely affect your grade.
--All project/paper topics must be cleared with me in advance. Please submit topics in writing, even if we discuss them.
--Late work will not be credited without the proper written excuses; if you are absent for an exam you will receive a “0” without the proper written excuse.
-- There may be certain extra credit opportunities offered for this course; all extra credit must be cleared with me in advance.
The Internet: When researching assignments, I encourage you to avail yourself of all sources, including the Internet. However, for certain assignments I will require you to use a certain number of “non-cyber sources” (i.e., books, magazines, journals, etc.) as opposed to web sites.
Student Responsibilities:
--You are personally responsible for acquiring notes and handouts for any missed classes.
--For your own protection, make extra hard copies of all your written assignments. Even teachers are known to misplace things--or never receive them!
--Since you are ultimately responsible for your own grade, please see me ASAP should any problems or concerns arise. My office hours are listed. Don’t be afraid to make an appointment or drop by. Don’t forget; you are responsible for scheduling your two conferences with me.
--On exam days, it is in your best interest to be here--and to arrive on time. No make-up exams will be given without an official excuse. Exams will not necessarily run over scheduled class/exam time.
--You are responsible for any announced changes in the syllabus or class schedule.
-- Please consult the university bulletin for guidelines concerning withdrawals, incompletes and academic dishonesty. I will give an incomplete only in the direst circumstances. Academic dishonesty, such as plagiarism or cheating, will result in a failing grade for that exam or assignment. You may further risk failure for the course and consequences on the university level.
In the best interests of this class I reserve the right to alter portions of this syllabus. Any changes will be announced in class.
Please note: Some of the texts to be read in this class have adult language and themes; if such works disturb you, this does not automatically permit you to forego assignments. You must see me well in advance to discuss problems and solutions.
V. HUMBLE SUGGESTIONS:
--Keep current with your readings & short assignments--we’ll move quickly.
--Schedule those team projects and play presentations early so you're not overloaded at the midterm and overwhelmed at the end of the semester.
--Start you research paper TODAY! Schedule weekly time to work on it.
--See me for topic narrowing hints and general ?s and concerns for all projects.
--Seek out the friendly and wise people in The Writing Room (308 Briggs Library). It never hurts to run ideas/writing by an outside source.
--Consider forming a study group to read plays aloud, review for exams, bounce ideas off of, support your research, etc.
--And finally, on the next page, some “Deep Thoughts” to ponder:
“To me, the theatre today—it’s all cliché…. We need new forms. New forms are needed.”
--Anton Chekhov, The Sea Gull
“And he’ll say, as he scratches himself with his claws,
‘Well, the Theatre’s certainly not what it was . . .’”
--Gus, the Theatre Cat (T. S. Eliot)
“The best way to suppose what may come is to remember what is past.”
--Miscellaneous
“Who I am and what I say about historical figures and events are irrevocably intermingled. How could that surprise you?”
--Sue-Ellen Case
“Welcome to the theatre! You fool: you’ll love it so!
--Margo Channing
CALENDAR FOR WORLD THR. HIS. & LIT. II
(This schedule is tentative and subject to change.)
CH = Cultural History of Theatre (chapters)
HB = Harcourt Brace Anthology of Drama (plays and/or pg#s)
Note: Two plays on the schedule, The Seagull and A Streetcar Named Desire, are not in HB but are widely available.
Resident Expert areas selected this week....
M Jan. 14 Welcomes; Review; Schedule Correspondent Ass.
W Jan. 16 CH 11 (18th Cen. Europe)
F Jan. 18 ‘’
M Jan. 21 M.L.K. Day --- No class
W Jan. 23 Ch 12 (Romanticism)
F Jan. 25 CH 13 (Popular Theatre)
Team research projects selected this week....
M Jan. 28 Continue CH 13
W Jan. 30 CH 15 (In Search of a New Theatre)
F Feb. 1 ‘’
Supplementary plays selected this week....
M Feb. 4 Read A Doll’s House in HB
W Feb. 6 Read D’s House revs. In HB (928-932); Cima article in HB (901-15)
F Feb. 8 Read The Sea Gull by Anton Chekhov (not in HB)
UMM’s The Laramie Project plays this week…
M Feb. 11 Finish Sea Gull & Read Stansilavski article in HB (883-887)
W Feb. 13 TBA
F Feb. 15 TBA
M Feb. 18 Laramie Project discussion/assignment
W Feb. 20 CH 14 Chinese Theatre
F Feb. 22 Read M. Butterfly (in HB)
M Feb. 25 Finish China; Resident Expert summaries due for CHS 11-15
W Feb. 27 Team research presents
F Mar. 1 Team research presents
Research Paper Topic must be finalized by end of this week…
M Mar. 4 Midterm Exam
W Mar. 6 Read CH 16 (Theatre in Transition)
F Mar. 8 Continue 16
Spring Break Mar. 11 – Mar. 15; No classes!
Back from Spring Break
M Mar. 18 Read A Streetcar Named Desire by T. Williams (not in HB)
W Mar. 20 Read Arthur Miller in HB (1162-3); Brecht in HB (889-93)
F Mar. 22 African Theatre
Working Bibliography for Research Paper due this week…
M Mar. 25 Read Fences by August Wilson in HB; also Baraka article in HB (1164-65)
W Mar. 27 TBA
F Mar. 29 CH 17 (Reaction & Recovery)
Supplementary Play Papers due this week…
M Apr. 1 Read Esslin article (HB 874-7); Artaud (HB 894-900)
W Apr. 3 Read The Homecoming (in HB)
F Apr. 5 Finish Homecoming
1st draft of Research Paper Due this week...
M Apr. 8 TBA
W Apr. 10 CH 18 In Search of a Future
F Apr. 12 Read Angels in America
The Little Prince plays this week…
M Apr. 15 Continue Angels
W Apr. 17 You should have given your Thr Corresp. Ass. by now!
F Apr. 19 Cloud Nine
LP Continues; Final Draft of Research Paper due this week....
M Apr. 22 Continue Cloud Nine ;
Resident Expert summaries due for CHS 16-18
W Apr. 24 TBA
F Apr. 26 Research Papers Due Today
M Apr. 29 Begin Paper Presentations
W May 1 Finish Paper Presents
F May 3 Review for Final and regular last class !
FINAL EXAM THURS. MAY 9 4:00 – 6:00 P.M.