The University of Central Florida
Script Analysis
THE 2305, Section 0001
Fall, 2015
Instructor: Elizabeth Brendel Horn
Office Location: #T221
Meeting Times: T/TH 10:30-11:45am
Hours: M, T, Th, F 12:30-2
Location: ENG II 0205
Email: [email protected]
Course Credit Hours: 3
Phone: 407-823-2183
This syllabus is subject to change at the instructor’s discretion. Any changes will be
communicated in a timely manner.
Course Goal/Objectives:
Through this course, students will develop the ability to deepen one’s understanding of a
dramatic text through close reading and analysis. Students will explore how various roles
within theatre (technician, director, and actor) may be strengthened through careful and
purposeful script analysis.
Textbooks:
1. Script Analysis for Actors, Directors and Designers, Fifth Edition by James Thomas
2. Backwards & Forwards: A Technical Manual for Reading Plays by David Ball
In addition, these texts will be required reading (all plays are available in The Bedford
Introduction to Drama, 7 Edition):
th
1.
2.
3.
4.
5.
6.
7.
8.
The Poetics - Aristotle (available on Webcourses under Pages)
Oedipus Rex - Sophocles (translated by Dudley Fitts and Robert Fitzgerald)
Doctor Faustus - Christopher Marlowe
A Doll House - Henrik Ibsen
Death of a Salesman - Arthur Miller
A Raisin in the Sun - Lorraine Hansberry
Doubt - John Patrick Shanley
Eurydice - Sarah Ruhl
Mandatory Performances:
1. The Understudy – Theresa Rebeck (September 17 – October 4)
2. Man and Superman – George Bernard Shaw (November 12 – 22)
Class Materials:
In addition to standard class materials, please bring a pack of 3X5 index cards to class.
Attendance Policy:
1. Class attendance and participation is mandatory and will factor into 8% of the
student’s final grade. Attendance will be taken at the beginning of each class, and after
two unexcused absences, the student’s final grade will drop one letter grade for each
additional absence. Two unexcused tardies equals one absence.
2. Excused absences may include: illness with a doctor’s note, a death in the family, a
University-sanctioned event, or a religious holiday. I require written explanations of all
excused absences, which will be accepted at my discretion. Advanced notice whenever
possible will help us maintain a positive working relationship.
3. Students may only make up in-class assignments if the absence was excused by the
instructor. You are responsible for obtaining any missed information from a peer. I will
not discuss missed material.
Participation:
1. Attendance is more than just physically showing up – you must mentally show up as
well. Students must be fully prepared: you should have read the homework
assignment(s), made notes to ask questions or make comments during class discussions,
and should have all necessary supplies. Anything less is unacceptable and may result in
you being asked to leave and receiving an unexcused absence. Please see the end of this
syllabus for suggestions on preparing discussion notes.
2. The use of cell phones is not allowed during class time without the instructor’s
permission. Each time you are seen with a cell phone, your final grade will lower by 3%.
3. Class work may include physical movement and class presentations. Please see me if
this is cause for concern.
4. In order to achieve and maintain a safe space, class discussions must be held in a
respectful and professional manner. This means we are accepting of all thoughts and
opinions, even if they differ from our own, and refrain from sarcasm, put downs, foul
language, discrimination, etc. In this class, we are all coming to the table with multiple
voices of equal value, which will lead to a richer discussion.
Disclaimer:
Studying theatre inherently opens up a wide variety of topics. Topics explored in the
plays read in class may include, but are not limited to: sex, violence, death, addiction,
suicide, abortion, incest, race, and religious commentary. Please see me if you have any
concerns about class materials and we will discuss possibilities for an alternative
assignment.
Academic Misconduct:
Please visit http://integrity.sdes.ucf.edu for further information.
Students with Disabilities:
Please visit http://sas.sdes.ucf.edu/
Assignments and Grading:
Participation and Class Discussions
____/8
Response Papers:
Oedipus Rex
____/8
Doctor Faustus
____/8
A Doll House
____/8
Death of a Salesman
____/8
Raisin in the Sun
____/8
Doubt
____/8
Eurydice
____/8
The Understudy (and proof of attendance)
____/8
Man and Superman (and proof of attendance)
____/8
Creative Presentation
____/10
Final Exam
____/10
TOTAL
____/100
*There is no extra credit in this course.
Final grades are calculated as follows:
A 95-100
A- 90-94
B+ 85-89
B 80-84
C+ 75-79
C 70-74
D 65-69
F 64 or less
Class Schedule
Syllabus and Daily Schedule are subject to change. Effort will be made to notify students in
advance of any changes, if necessary.
DATE IN CLASS Week 1 8/25 8/27 Introduction Week 2 9/1 9/3 Dissect The Poetics in small groups Week 3 9/8 9/10 Week 4 9/15 9/17 Week 5 9/22 9/24 Week 6 9/29 10/1 Week 7 10/6 10/8 Week 8 10/13 What is Script Analysis? Introduction to The Poetics Discuss Oedipus Rex and relationship to Aristotelian model Discuss Oedipus Rex and imagery Annotate language in small groups Discuss Oedipus Rex Choral speak in small groups Feedback on response papers Discuss Doctor Faustus and relationship to Aristotelian model Discuss Doctor Faustus imagery, language, character Discuss Doctor Faustus Tableau work in small groups ASSIGNMENTS DUE (Due ON the day listed) Reading: Ball pp 3-­‐6, 9-­‐18 Reading: Thomas pp xviii-­‐xxxiv (end of Logical Thinking section) Due: Pre-­‐evaluation on Webcourses Reading: Aristotle’s The Poetics Reading: Oedipus Rex Prologue – Sc 1 Reading: Ball pp 19-­‐24 Reading: Oedipus Rex Sc 2 -­‐ Sc 3 Reading: Ball pp 68-­‐75 Reading: Oedipus Rex Sc 4 – Sc 5 Response paper: Oedipus Rex Reading: Doctor Faustus Prologue – Act 2.1 Reading: Thomas pp 43-­‐52; 63-­‐65 Reading: Doctor Faustus Act 2.2 – Act 3.2 Reading: Ball 76-­‐78 Reading: Doctor Faustus Act 3.2 -­‐ Epilogue Response paper: Doctor Faustus No class Discuss A Doll House and Reading: A Doll House Act 1 relationship to Aristotelian model Reading: Ball 32-­‐34 Discuss A Doll House and script Reading: A Doll House Act 2 analysis as an actor – back story, Reading: Ball pp 25-­‐31, 60-­‐67 beats, subtext, actions, objective Reading: Thomas pp 176-­‐180 Discuss The Understudy Reading: A Doll House Act 3 Discuss A Doll House Response paper: The Understudy Script analysis exercises Response paper: A Doll House Discuss Death of a Salesman and Reading: Death of a Salesman Act 1 relationship to Aristotelian model beginning – Happy’s line “I’m losing weight, you notice, Pop?” Reading: Thomas pp 288-­‐290 Discuss Death of a Salesman and Reading: Death of a Salesman remainder script analysis as a designer – image of Act 1 work, mood, class, time period, etc. 10/15 Continue Death of a Salesman script analysis as a designer Week 19 10/20 Discuss Death of a Salesman Mock production meetings 10/22 Discuss Raisin in the Sun and relationship to Aristotelian model Discuss Raisin in the Sun Exploring gender, race, and the role of the playwright in script analysis Discuss Doubt and relationship to Aristotelian model Script analysis as a director: Table work Discuss Eurydice and relationship to Aristotelian model Week 10 10/27 10/29 Week 11 11/3 11/5 Week 12 11/10 Script analysis as a director: Actor exercises 11/12 Week 13 11/17 11/19 Week 14 11/24 11/26 Week 15 12/1 FINAL EXAM Creative Presentations Creative Presentations Reading: Death of a Salesman Act 2 beginning – Willy’s line “Charley, you’re the only friend I got. Isn’t that a remarkable thing?” Due: Creative Presentation group members and one paragraph project proposal (one proposal per group) Reading: Death of a Salesman remainder of Act 2 Response paper: Death of a Salesman Reading: Raisin in the Sun Act 1 Reading Ball pp 45-­‐59 Reading: Raisin in the Sun Act 2 Response paper: Raisin in the Sun Reading: Doubt scenes 1-­‐4 Reading: Ball pp 39-­‐44 Reading: Doubt scenes 5-­‐9 Response paper: Doubt Reading: Eurydice First movement Reading: Ball pp 35-­‐36 Reading: Thomas pp 267-­‐269, 291-­‐292 Reading: Eurydice Second and Third movement Response paper: Eurydice Creative Presentations Discuss Man and Superman Creative Presentations No class Review for final Response paper: Man and Superman Tuesday, December 15th, 10am – 12:50pm Final exam will be short answer/essay based, using passages from the plays studied in class. Addendum:
As of Fall 2014, all faculty members at The University of Central Florida are required to
document students' academic activity at the beginning of each course. Your attendance will
be monitored closely, and in addition, you are required to log on to Webcourses and
complete the “Syllabus Quiz” by Friday, August 28th at 12:00 p.m.
Response Papers
You will complete a total of nine (9) one-page play responses, seven (7) for plays read in class
and two (2) for mandatory attendance of the UCF mainstage productions The Understudy and
Man and Superman.
Each play response should be no more than 250 words. I will only grade the first 250 words – the
goal here is to help you learn how to write concisely and purposefully. Play responses will only
be accepted via UCF WebCourses.
Here is what a play response is NOT:
• A summary of the play
• Your opinion about the play
• “Research” or ideas pulled from Wikipedia or Sparknotes
• A summary of what we talked about in class
• Multiple ideas – Write about ONE thing.
A play response is instead about ONE question you had as we read, discussed, and worked with
the text. Explore your question using plot points or quotes from the play itself. You may also use
ideas presented in our readings from Aristotle, Thomas, and Ball to explore your question, or
other sources (make sure to cite sources as needed).
Some sample questions to get you started:
• What is the structure of the play, and why? How does this influence the audience experience?
• What role does race (or gender, religion, age, class, location, time period, etc.) play in the
text?
• What is the rhythm of the text or tempo, and what is its significance? How does it change
from character to character?
• What is the significance of ___________ image?
• What is the purpose of this character (or setting, plot point, significant line, etc.)?
• What is the relationship between these characters?
• What is the atmosphere of the play?
Every word counts. Read through your response carefully and cut out anything extraneous.
Please write formally and avoid “I,” “me,” and “you.” You should also edit painstakingly for
spelling, punctuation, and grammar.
For proof of attendance for the UCF mainstage productions, please upload a photo of YOU at the
theatre – with actors, with the set in the background, holding your ticket or program, etc. –
anything that proves you were there at the performance. Upload this in Webcourses along with
your response paper. (Alternatively, you may turn in your stamped ticket to the class TA.)
Creative Presentation
In a group of 4-6 members, you will select one of the plays studied and prepare a 10 to 15minute creative presentation. For this presentation, you will utilize the script analysis techniques
explored in class to prepare a presentation that best caters to the interests and career goals of
your group members. The format of your presentation should come from the following list, or
you may propose another format to the instructor for approval.
a.
Create a multimedia collage exploring the story, themes, ideas, atmosphere, or
character(s) in the piece.
b.
Create a digital presentation exploring the story, themes, ideas, atmosphere, or
character(s) in the piece.
c.
Create a new piece of work – song, poem, dance, puppetry – exploring the story,
theme, atmosphere, or character(s) in the play.
d.
Prepare a scene from the play, with group members participating as actors or
directors.
e.
Prepare a design concept for the production, determined with one group member
acting as director and the other group members acting as designers (costumes, set,
lighting, sound, etc.), with the director presenting the overall concept and each
designer sharing design work in their respected area.
f.
Lead the class through an interactive game or acting exercise, as though they are
actors at the beginning of the rehearsal process and you are directors helping them
explore the world of the play.
g.
Other (to be approved by the instructor): ___________________
In addition to sharing your creative presentation, be prepared to verbally articulate the rationale
behind your choices, and include the following in writing, HARD COPY:
a.
b.
A typed explanation of who completed what tasks within your group, signed by all group
members.
A typed explanation of how the final product represents your groups’ understanding of
the script, including quotes or specific examples from the script.
Am I Prepared for Class Discussion?
Participating in class discussions (and exercises) in not optional and will factor into your final
grade. You should make an effort to speak multiple times during each class discussion. To
successfully do this, read the script closely with pencil in hand. Annotate the script by
underlining text and writing comments, responses, or questions in the margins. Things to look
for when you read:
1. What action causes another action?
2. What is the stasis of the play?
3. What is the conflict? What are the obstacles the characters face, and what are their actions to
overcome them?
4. What important information is revealed to the audience, and when?
5. What theatrical moments take place, and why does the playwright make these choices?
6. What does the script say about a character? What can I infer about a character by analyzing
his/her actions?
7. What are the themes of the play?