NEW YORK UNIVERSITY
STEINHARDT SCHOOL OF CULTURE, EDUCATION AND HUMAN DEVELOPMENT
DEPARTMENT OF MUSIC AND PERFORMING ARTS PROFESSIONS
PROGRAM IN EDUCATIONAL THEATRE
FALL 2011
THEATRE AS ART FORM (for non-majors)
MPAET-UE 60 / LIBAR-UE 171
4 points
Section 001 LEC Tuesdays and Thursdays, 9:30-10:45am, BOBST LL 150
Section 002 REC Mondays, 12:30-1:45pm, BOBST LL 150
Section 003 REC Mondays, 9:30-10:45am, SILVER 410
Professor: Joe Salvatore
[email protected]
Office: Pless Hall Annex, Rm. 223
212.998.5266
Office Hours: By appointment, http://steinhardt.nyu.edu/advisement/schedule
Teaching Assistant: Amissa Miller
[email protected]
Office: Pless Hall Annex, Rm. 223
Office Hours: By appointment, please call 212.998.5868
OVERVIEW: This course introduces non-majors to theatre as a live and performing art through a
variety of experiences including attendance at live performances, readings of play scripts and
theoretical texts, and the creation of original plays. Through lectures, discussions, and written
assignments, students will explore the roles of the playwright, actor, director, and designer in the
production process, as well as examine the role of the audience in the live performance.
COURSE OBJECTIVES
Students will be able to:
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Define theatre as a performing art and cultural form.
Identify why theater is an important medium for our society and our world.
Demonstrate how theater is different from other forms of popular entertainment, like film
and television.
Describe the processes used to create a theatrical performance.
Outline the roles of directors, designers, performers, and other theater artists, and how their
artistic choices lead to a finished product.
Analyze play scripts and theatrical performances and capture personal responses through
written papers and in-class discussions.
Create an original play.
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REQUIRED TEXTS
The Essential Theatre by Oscar G. Brockett and Robert J. Ball
Sweet Smell of Success by Marvin Hamlisch, Craig Carnelia, and John Guare
A Raisin in the Sun by Lorraine Hansberry
Angels in America, Part One: Millennium Approaches by Tony Kushner
Fires in the Mirror by Anna Deavere Smith
*** All of the above texts are available at the NYU Main Bookstore unless otherwise noted.
Additional Readings
Some of the required readings for the course will be posted on Blackboard and will be marked as
such in the course itinerary at the end of this document.
REQUIRED PRODUCTIONS
Must see:
Sweet Smell of Success
MPAP Vocal Performance Production
Thursday-Saturday, September 29-October 1 at 8:00pm, Sunday, October 2 at
3:00pm, and Monday, October 3 at 8:00pm in the Loewe Theater, 35 W. 4th Street.
The Triangle Project (working title)
Educational Theatre Production
Friday-Saturday, October 28-29 at 8:00pm, Sunday, October 30 at 3:00pm
Thursday-Saturday, November 3-5 at 8:00pm, Sunday, November 6 at 3:00pm
in the Pless Hall Black Box Theatre
A third production of your choice.
This can be a university production or a professional production that you have seen
after you began your work in this course.
We strongly suggest that you reserve your tickets for these productions early in the semester, as
they will sell out. We will not accept the excuse that a production was sold out as a reason for
missing a paper or questions on an exam. It is your responsibility to secure these tickets early so
that you are guaranteed a seat.
For tickets for the Sweet Smell of Success and the The Triangle Project (Educational Theatre
production), contact NYU Ticket Central.
Online: www.nyu.edu/ticketcentral/calendar; By Phone: 212.352.3101
In Person: 566 LaGuardia Place (at Washington Square South)
If you absolutely cannot attend one of the shows due to some personal scheduling conflict, please
speak to your teaching assistant ASAP, and we will determine an appropriate substitution. If you
anticipate missing both productions, we suggest that you take another course.
***Note: Both exams will contain questions about these productions, so if you want to do well in
this course, you must attend the productions in their entirety.
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COURSE WORK AND EVALUATION
Each week you will attend two lectures delivered by the professor or a guest lecturer, and you will
attend a recitation meeting led by a teaching assistant. In addition to attending classes and doing
the assigned reading, you will write three production response papers, participate in an original
play creation process, and take two exams. All work will be graded by your teaching assistant and
subject to review by the professor.
Please note: This class does not require any previous acting or theatre experience.
Production Response Papers
These three response papers are an important part of the coursework, as they help to provide
experience with written articulation of what you experience as an audience member viewing live
performances. The responses will include your personal responses to productions, but you must be
able to support your ideas with specific examples from the given productions and/or play scripts in
question. You will receive a suggested structure for each paper, as well as the criteria for
assessment, well in advance of each assignment’s due date. Writing assignments will be assessed
not just on content, but also on style and presentation. Your writing must use the formal rules of
grammar and punctuation, and you must cite sources when necessary. If you need assistance with
your writing for this course, the professor and teaching assistant are available for consultation, and
you can also visit NYU’s Writing Center. More information about the center can be found at
http://www.nyu.edu/cas/ewp/html/writing_center.html
Response Paper #1: Write on Sweet Smell of Success
• 3 pages, typed, double-spaced, in 12 pt. font
• This paper will focus on your responses as an audience member to the production.
• DUE Thursday, October 6, by 3:00pm
Response Paper #2: Write on The Triangle Project (working title)
• 4-5 pages, typed, double-spaced, in 12 pt. font
• This paper will focus on the production choices of an actor, the director, or a
designer and how those choices contributed to the overall success or failure of the
production and your experience as an audience member.
• DUE Thursday, November 10, by 3:00pm
Response Paper #3: Write on a production of your choice that you’ve seen this semester
• 4-5 pages, typed, double-spaced, in 12 pt. font
• This paper will focus on the style of the viewed production and will include a
compare/contrast section to either A Raisin in the Sun or Fires in the Mirror.
• DUE Tuesday, December 6, by 3:00pm
*** Please note that Wikipedia should not be used as a cited source for any paper or project in this
course.
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Original Play Projects
For five recitation meetings during the semester, you will work in smaller groups to create original
plays, and this will provide you with a taste of what it’s like to mount a theatrical production. The
plays will be presented in your recitation sections on November 21 and in lecture on November
22. You will be given time in class to work on these plays, but you may need to meet outside of
class at least once. Each group member will play one of three roles in the process: playwright,
director, or actor.
Your plays will be 5-7 minutes in length, and you will create them using a collaborative process.
Each recitation section will decide on a theme or subject to explore. Using a series of devising
parameters provided by the teaching assistant, your group will improvise a short scene inspired by
the selected theme or subject, and the improvisation will be recorded. The recording will then be
transcribed and used as a basis for the script that your group then rehearses and performs.
These projects are worth 15% of your final grade in the course. They will be assessed using a set of
criteria established ahead of the project. The focus of the assessment will not be on your final
performance/finished product per se, but rather more on your ability to collaborate with your
fellow group members, your level of commitment in the overall creation and performance process,
and your ability to articulate your learning as a result of participating in this process.
Additional instructions and guidelines will be provided in your recitation section meetings.
Original Play Project Presentations due: November 21 in recitation sections and November 22 in
lecture.
*** Please note that these days fall just before the Thanksgiving break. Plan your travel
accordingly so as not to miss these two class meetings.
Exams
You will take two written exams in this course. Both exams are cumulative and focus on materials
from lectures, assigned plays, and assigned productions. Exams could include multiple choice
questions, short answer questions, and essay questions.
Exam #1: Tuesday, October 18
Exam #2: Thursday, December 15
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Assessment Breakdown
Exams, papers, and projects will have the following values for your overall grade in the course:
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Response Paper #1 (Sweet Smell of Success)
Exam #1
Response Paper #2 (The Triangle Project)
Response Paper #3 (Production of your choice)
Original Play Process
Exam #2
10%
15%
15%
20%
15%
25%
TOTAL
100%
Grading Scale:
93% and up:
90-92%:
88-89%:
83-87%:
80-82%:
A
AB+
B
B-
78-79%:
73-77%:
70-72%:
68-69%:
63-67%:
62% and less:
C+
C
CD+
D
F
Grade-Related Policies
There is no extra credit available in this course.
Class participation and attendance are crucial! Grades will be modified upward or downward
based upon class participation and attendance, both in lecture and discussions. Disruptive
behavior in class can be a basis for downward adjustment of grades.
The assessment of student work will be based on rubrics and/or checklists provided in advance of
each of the projects so that assessment criteria and expectations are clear.
The following policies regarding exams and papers will be strictly enforced:
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If you miss an exam due to an official university excused absence, confirmed in writing,
you will be permitted to take a make-up exam administered by your Teaching Assistant.
If you miss an exam for an unexcused absence or due to lateness, you will receive a zero
(0) for that exam.
Papers will be submitted via Blackboard by 3:00pm on the date that they are due. No late
papers will be accepted.
Grades of Incomplete will not be given unless we agree after a personal meeting that your
personal circumstances are truly exceptional and warrant extra time to complete course
assignments.
*** Official university excused absences must be documented. If you know you will be missing
class, advance notification via email would be appreciated, including for religious observances.
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ADDITIONAL INFORMATION
Email and Blackboard
You must have an active NYU email account that you check on a regular basis. This is the easiest
way for us to communicate with you regarding last minute changes and for you to contact us
regarding questions and concerns about the coursework. We will also have a Blackboard account
for the course, and we will use this for communication and to post important documents related to
the course. Assignments will also be submitted through the Blackboard site.
Submitting Written Work
All written work must be submitted by 3:00pm on the due date through the course Blackboard
site’s Assignments tab. Hard copies of papers will not be accepted.
When you are naming and saving your document, please use the acronym for the course (TAF),
the project title, and your last name. So here is an example: TAF response1 Smith
Academic Honesty
You are responsible for knowing the University’s issued standards of academic honesty outlined in
the student handbook. It is your responsibility to uphold these policies and actively avoid any
behavior that is or may be construed by any of the instructors as academic dishonesty. This means
that you should not show drafts of your papers to other students in the course or look at other
students’ papers. While we encourage you to discuss reactions to plays and performances with the
other students in the course, you MUST write your own papers. You MUST see assigned
performances in their entirety, and you MUST NOT provide those students who did not see the
productions with information about those performances. And finally, be careful with your behavior
during exams administered in class. If this is unclear now or later in the semester, please make it a
point to meet with me or your teaching assistant for further clarification.
The standard penalty for academic dishonesty consists of an automatic “F” for the course and
notification of campus authorities.
Do You Have Any Particular Needs?
Please let us know if there is anything we should be aware of regarding you and a particular need
or characteristic, such as a medical condition, a sensory or hidden disability, etc. that may
influence our interactions, your participation, or your personal well-being. We want to make the
course as inclusive as possible, so we’d appreciate your communication to keep us informed
about you. This disclosure is optional or, if you wish, only for selected individuals.
Note: Any student attending NYU who needs an accommodation due to a chronic, psychological,
visual, mobility and/or learning disability, or is Deaf or Hard of Hearing should register with the
Moses Center for Students with Disabilities at 212.998.4980, 240 Greene Street,
www.nyu.edu/csd.
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Open Door Policy
It is my intention to create a safe environment and a comfortable learning community for everyone
in the class. If at any time you feel unsafe or uncomfortable, please feel free to address these issues
with me or with your teaching assistant. I would suggest setting up a time to speak with one of us
during our office hours, and if our available times conflict with your other obligations, please
email us with other possible times that might work for you, and we’ll make an appointment.
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COURSE ITINERARY
Week #1
Tues. Sept. 6
Thurs. Sept. 8
Mon. Sept. 12 (REC)
Week #2
Tues. Sept. 13
Thurs. Sept. 15
Mon. Sept. 19 (REC)
Week #3
Tues. Sept. 20
Thurs. Sept. 22
Mon. Sept. 26 (REC)
Week #4
Tues. Sept. 27
Thurs. Sept. 29
Mon. Oct. 3 (REC)
Sept. 29-Oct. 3
Week #5
Tues. Oct. 4
Thurs. Oct. 6
Mon. Oct. 10 (REC)
(Subject to change)
Introduction of teaching staff
Review course outline, expectations, assignments, and schedule
Identifying past experience with theatre
Defining theatre: what makes it different from other art forms?
Origins of theatre: ritual, religious ceremony, civic engagement
Discussion of lectures and readings
Read Brockett & Ball, Chapters 1 & 2
Theatre History: an overview, part 1
Read Brockett & Ball, Chapter 4
Theatre History: an overview, part 2
Read Brockett & Ball, Chapter 5
Discussion of reading and lectures; review course writing style sheet
Who’s who in a theatre production process: an overview
Read Brockett & Ball, Chapter 11
Our most popular theatre: the American Musical
Read Brockett & Ball, pages TBA (announced in class)
Discussion of reading and lectures
Review Response Paper #1 assignment and rubric for assessment
The development of the American musical form
Sweet Smell of Success: where does it fit in American Musical
history?
Discussion of lectures
See Sweet Smell of Success, Loewe Theatre
Theatre Practitioners: The Playwright
Read Brockett & Ball, Chapter 3 & additional pages TBA
Theatre Practitioners: The Actor
Read Brockett & Ball, Chapter 14
Response Paper #1 due
No class— Fall Break
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Week #6
Tues. Oct. 11
Thurs. Oct. 13
Mon. Oct. 17 (REC)
Week #7
Tues. Oct. 18
Thurs. Oct. 20
Mon. Oct. 24 (REC)
Week #8
Tues. Oct. 25
Thurs. Oct. 27
Mon. Oct. 31 (REC)
Oct. 28-30
Week #9
Tues. Nov. 1
Thurs. Nov. 3
Mon. Nov. 7 (REC)
Nov. 3-6
Week #10
Tues. Nov. 8
Thurs. Nov. 10
Mon. Nov. 14 (REC)
No class—Fall Break
Theatre Practitioners: The Director
Read Brockett & Ball, Chapter 13
Discussion of readings and lectures
Review for Exam #1
Exam #1 (on course material through October 13)
Theatre Practitioners: The Designers
Read Brockett & Ball, Chapters 15, 16, 17
Original Play #1: introduction of project and formation of groups
Review Response Paper #2 assignment and rubric for assessment
Lecture on the Triangle Shirtwaist Factory Fire and devising
MPAP-Educational Theater Production Team Forum with director,
designer(s), and actor(s)
Original Play #2: improvisation process for play creation
See The Triangle Project, Black Box Theatre
Theatre Practitioners: Management, Dramaturgy, Producing
Read Brockett and Ball, pages TBA
Contemporary Theatre: What’s happening today?
Read Brockett and Ball, Chapter 9, pages TBA
Read an article of your choice from The New York Times Theatre
section and bring a hard copy to class
Original Play #3: revising and rehearsing the script
See The Triangle Project, Black Box Theatre
Theatre History: an overview, part 3
Read Brockett & Ball, Chapters 6 & 7
Theatrical Style
Response Paper #2 due
Original Play #4: staging final scripts
Review Response Paper #3 assignment and rubric for assessment
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Week #11
Tues. Nov. 15
Thurs. Nov. 17
Mon. Nov. 21 (REC)
Week #12
Tues. Nov. 22
Thurs. Nov. 24
Mon. Nov. 28 (REC)
Week #13
Tues. Nov. 29
Thurs. Dec. 1
Mon. Dec. 5 (REC)
Week #14
Tues. Dec. 6
Thurs. Dec. 8
Mon. Dec. 12 (REC)
Week #15
Tues. Dec. 13
Wed. Dec. 14 (REC)
Thurs. Dec. 15
American Realism in the 20th century
Read Hansberry, A Raisin in the Sun
A Raisin in the Sun
Original Play #5: presentation
Original Play presentations
No class—Thanksgiving holiday
Debrief original play process
Discussion of readings and lectures
Postmodernism and Verbatim theatre
Read Deavere Smith, Fires in the Mirror
Viewing Fires in the Mirror
Discussion of readings and lectures
Theatre that Activates: Bertolt Brecht to the present
Response Paper #3 due
Angels in America, Part One: Millennium Approaches
Read Kushner, Angels in America, Part One: Millennium
Approaches
Discussion of readings and lectures
Beyond Broadway: The regional theatre system in the United States
Involvement as a theatre patron
Read Brockett and Ball, Chapter 8, pages TBA
Classes follow a Monday schedule
Review for final exam
Wrapping up
Exam #2 (on course material through December 13)
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BIBLIOGRAPHY FOR THEATRE AS ART FORM
FALL 2011
Arnold, Stephanie. The Creative Spirit: An Introduction to Theatre. New York: McGraw Hill, 2011.
Ball, William. A Sense of Direction. New York: Drama Book Publishers, 1984.
Bartow, Arthur. The Director’s Voice. New York: Theatre Communications Group, 1988.
Bockett, Oscar G. and Franklin G. Hildy. History of the Theatre. New York: Allyn and Bacon,
2003.
Brockett, Oscar G. and Robert J. Ball. The Essential Theatre. 10th ed. Florence, KY: Cengage
Learning, 2010.
Bogart, Anne. A Director Prepares: Seven Essays on Art and Theatre. New York: Routledge,
2001.
Cole, Susan Letzler. Playwrights in Rehearsal: The Seduction of Company. New York: Routledge,
2001.
Cole, Toby and Helen Krich Chinoy. Actors on Acting. New York: Three Rivers Press, 1970.
___. Directors on Directing. New York: Macmillan Publishers, 1963.
Hagen, Uta and Haskel Frankel. Respect for Acting. New York: Macmillan, 1973.
Hamlisch, Marvin (music), Craig Carnelia (lyrics), and John Guare (book). Sweet Smell of Success.
New York: Samuel French, Inc., 2006.
Hansberry, Lorraine. A Raisin in the Sun. New York: Samuel French, Inc., 1959.
Hauser, Frank and Russell Reich. Notes on Directing. New York: RCR Creative Press, 2003.
Jonas, Susan, Geoff Proehl and Michael Lupo, ed. Dramaturgy in American Theater: A Source
Book. Fort Worth, Texas: Harcourt Brace & Company, 1997.
Jones, Robert Edmund. The Dramatic Imagination. New York: Theatre Arts Books, 1969.
Saint-Denis, Michel. Theatre: The Rediscovery of Style. New York: Theatre Arts Books, 1960.
Smith, Anna Deavere. Fires in the Mirror. New York: Anchor Books, 1993.
Uno, Roberta with Lucy Mae San Pablo Burns, ed. The Color of Theater: Race, Culture, and
Contemporary Performance. New York: Continuum, 2002.
Willett, John, ed. and trans. Brecht on Theatre: The Development of an Aesthetic. New York: Hill
and Wang, 1964.
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