the 322: theatre, history & culture syllabus · the 322: theatre, history & culture...

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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


AvailableforpurchaseattheASUBookstoreoronline

RequiredReading

Tartuffe;Or,TheHypocritebyMolière

ProjectGutenbergOnline UnitResponsePaperOption

TheRoverbyAphraBehn ProjectGutenbergOnline UnitResponsePaperOption

TheLoatotheDivineNarcissusbySorJuanaInésDeLaCruz

THE322CourseReserveviaASULibrary

UnitResponsePaperOption

Televisionshows(various) MaybeavailableforscreeningorforpurchasethroughNetflix,YouTube,Amazon,etc.

DiscussionBoardOption

Unit3Title Location Notes



RequiredReading

SacredBloodbyZinaidaGippius THE322CourseReserveviaASULibrary


RichardIIIbyWilliamShakespeare

ProjectGutenbergOnline UnitResponsePaperOption

PhèdrebyJeanRacine ProjectGutenbergOnline UnitResponsePaperOption

“Here’stotheGirls”ZiegfeldFollieswithLucilleBall,FredAstaire,andCydCharisse

YouTubeLinkTBA


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Unit4

Title Location Notes



RequiredReading

“CoupleinaCage” https://vimeo.com/79363320 UnitResponsePaperOption

GuerillaGirls’2016Videos GuerrillaGirlsWebsite,Projectshttp://www.guerrillagirls.com/projects/


“Aristotle’sCoerciveSystemofTragedy”fromTheatreoftheOppressedbyAugustoBoal

ASULibraryOnline UnitResponsePaperOption

DetailsCannotBodyWantsbyChinWoonPing

THE322CourseReserveviaASULibrary


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


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,


Week6 325-392fromTheatreHistories:AnIntroduction,ThirdEdition,TobinNelhaus,generaleditorSacredBloodbyZinaidaGippiusORRichardIIIbyWilliamShakespeareORPhèdrebyJeanRacine

□ DiscussionReply□ 1ListAResponses□ 1ListBResponses

Unit4

Readings AssignmentsWeek7 397-510fromTheatreHistories:AnIntroduction,ThirdEdition,


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.

the 322: theatre, history & culture syllabus · the 322: theatre, history & culture...

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