THETREMUS 322.001/ENGLISH 444.001/THETREMUS 522.001
Theatre History II
Winter 2016
Professor Dieudonné-Christophe Mbala Nkanga
Office: 2412 Walgreen Drama Center // Mailbox: 2230 Walgreen Drama Center
Phone: 734-763- 4435 (Direct line) // 734-764-5350 (Theatre Office – Messages)
E-mail: [email protected]
Office Hours: Tuesdays & Thursdays: 9:30 AM – 2:00 PM
Friday: By Appointment Only
Class Meetings: Mondays & Wednesdays: 3:30 – 5:00 PM
2439 Walgreen Drama Center (Large Classroom)
COURSE DESCRIPTION AND OBJECTIVES
Theatre History II is an advanced course intended to explore in a chronological
manner the development of theatre, as literary art and performance event, from the
early modern times in the 17th century to the end of 20th century. The course focuses on
the production of theatre in its historical, social, and ideological contexts.
Many things have happened during those four centuries of human development.
Theatre has been the greatest mirror of the human soul, reflecting the conflicts and
crises encountered among men as the attention shifted more and more from the gods to
the material and emotional experience on earth. In many ways, theatre has witnessed
and reflected the social and individual tensions among men generated by the changes in
the human environments and the living conditions. From Europe to America, to Africa,
and to Asia, theatre has integrated itself into the social and cultural fabrics of
communities. Its practices and artistic trends have crossed boundaries in a global
manner.
This course seeks to steer students into analytically and critically reading selected
plays, considering some of the stage and filmic productions of them, and to examine
some of the creative ideas behind dramatic and theatrical developments in addition to
the social and cultural contexts in which they happened.
Therefore, this course intends:
- To help students acquire a comprehensive knowledge of major plays and
general aesthetic trends between the 17th and 20th Centuries;
- To engage students into analytically reading, discussing, and writing
persuasively about plays as well as their reactions to each material discussed
in class;
- To learn more about cultural and historical events that shaped the changes in
World Drama;
- To raise the awareness of the students about the importance of historical
understanding of theatre and performance studies;
- To challenge the students to critically think about historical events as they
may or may not pertain to plays;
- To introduce the students to the essentials of historical perspectives applied to
theatre and performance studies.
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REQUIRED TEXTS
-
Ellen Gainor, Stanton B. Garner Jr, Martin Puchner, eds., The Norton
Anthology of Drama, 1st ed., (New York: Norton, 2010)
OPTIONAL AND SUGGESTED READING
-
Oscar Brockett & Franklin J. Hildy, History of the Theatre (New York,
Allyn and Bacon, 2007)
-
Other reading materials will be available to you for downloading through the
class CTools site of the class whenever necessary.
ATTENDANCE
Attendance to all sessions is mandatory. If you do not attend class regularly,
you will find it difficult to succeed in this class. You are individually responsible and
accountable for the content of all classes missed. There will be no excuses for absence
unless justified with prior notification to the instructor by telephone or e-mail.
Excuses will be accepted for the following reasons: serious illness (witnessed by a
doctor’s note), observed religious holidays, family emergency. But remember: no
student is entitled to an unlimited number of absences.
Three unexcused absences will result in a reduction of your final
course grade by 1/3 of a grade (“A” to “A-“; “B” to “B-“). More than six
absences of any kind will result in an “F” for the course.
Three tardies to lecture equal one unexcused absence.
• Important Note:
- Because of the Flu season, if you experience flu-like symptoms — a fever of
100 F (37.8 C) or higher, running nose, cough, respiratory congestion — I ask
you to stay home until 24 hours after their last fever to keep you from making
others ill.
- I recommend that you seek treatment from your regular health care provider.
- Please let me know of your condition via email or phone call.
- Student who comes to class with signs and symptoms of illness (coughing,
sneezing) will be asked to leave to seek treatment or rest.
CLASS METHOD
Class participation is strongly recommended during discussions. Please
come prepared to think and respond, not simply to write down everything I say. Your
job will be made easier if you do the assigned reading on time because all reading
materials will be treated then. We can save time for a more in-depth
consideration of plays and pertinent materials than wasting it on the
elementary aspects of readings. Be advised that you are responsible for the content
of each class meeting.
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You are encouraged to work in groups. In this case your individual
contribution should be clearly felt and presented. Do not entirely rely on the members
of your group. Therefore, you should individually be able to respond for the completed
assignment. This may affect part of your final grade. Any incident and/or lack of
cooperation should be immediately reported to the instructor for a friendly but
constructive solution.
Additionally,
1. The professor reserves the right to adjust the course syllabus as needed.
2. TURN OFF YOUR CELL PHONES WHEN YOU COME TO CLASS! Be
considerate of your fellow classmates.
3. Laptops: You may bring laptops to class in order to take notes. However, if the
professor finds you online on a site not immediately and directly related to what
we are covering in the classroom, you will not be permitted to bring your laptop
back to class and you will lose 5% of your participation grade.
4. Students must keep duplicate copies of all work submitted.
REQUIREMENTS
Besides attending all class sessions, the students’ main tasks will consist in
actively responding to and discussing class materials (both orally and in writing) and
preparing the various aspects of each assignment. Other requirements include:
Readings:
Students have to read a variety of materials indicated on the class syllabus and,
introduced globally to them on the first day of class. Reading these materials ahead of
each session (I cannot emphasize this enough) is important for it helps each of you
to be ready for discussion and a clear understanding of various concepts and situations
involved in each material. Bring written questions and comments to class (extra point
to those who actively and consistently do this.)
Midterm Exam:
The midterm exam will consist of a two short essays based on take home
questions.
Recognition Tests and Pop Quizzes:
Four recognition tests will be assessed through the term. Because the course
depends on students being prepared to contribute in class discussions, I assume that
each and every student read all materials on time. If it appears to me that some of the
students do not, I reserve the right to organize pop quizzes, which will count for the
participation portion of the final grades. Their number can be unlimited.
Group Assignments:
Students are required to present a group assignment. Four assignments are
scheduled. Their contents will depend on the students’ choice of a particular subject
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matter pertaining to specific plays and historical period being studied. There are many
possibilities including, but not limited to: Acting in a scene, design concept of a scene,
presentation of found original materials… However, any work should reflect the
content and the spirit of the era and/or the playwright being studied.
*** Submit a copy (printed or electronic) of the final version presented in
class. Presentations should be limited to 30 minutes each.
NMN Be careful in downloading materials from the Internet or not recognizing
with proper references materials which are not your own. Cases of cheating and
plagiarism will be prosecuted and submitted to the authorities for further sanctions.
For more information please consult the university policy in the matter in
http://www.lib.umich.edu/shapiro-undergraduate-library/understanding-plagiarismand-academic-integrity
Please note:
- The final exam is tentatively scheduled for Tuesday, April 26, 2016
between 10:30 and 12:30 PM in WDC # 2439.
- Depending on the situation and the need, I reserve the right to
modify the content of this syllabus. Students will be advised in due
time.
Grades:
The final grade, ranging from A to E, will be a compilation of four sources:
- Midterm Exam: 20%
- Quizzes and Tests: 30%
- Group Assignment: 10%
- Class Participation: 15%
- Final Exam: 25%
COURSE CONTENT
January 6, 2016
- INTRODUCTION & PRESENTATION
assignments.)
(Storytelling session and clarification of
January 11, 2016
- GENERAL INTRODUCTION
General Review of historical events in theatre and performance from ancient
societies – Egypt – Persia – Greece – Rome – China – Japan – Renaissance (Italy,
England, France, Spain)
January 13, 2016
- GENERAL INTRODUCTION
Read:
- EARLY MODERN EUROPE: The Political Climate; Theater in France;
Theater in England; Theater in Spain's Golden Age; Dramatic Invocation in
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-
France, England, and Spain; Neoclassicism, Drama, and Theater. (The Norton
Anthology of Drama: pp. 31 - 50)
George Farquhar’s The Recruiting Officer (Canvas)
January 18, 2016
- Martin Luther King Jr. Day – No Regular Classes
January 20, 2016
- GENERAL INTRODUCTION (II)
Read:
- George Farquhar’s The Recruiting Officer (Canvas)
January 25, 2016
- SENTIMENTAL DRAMA AND ROMANTICISM
Read:
- MODERN EUROPE: Theater and Culture to 1950; Theater and Culture Since
1950; Modern European Drama in Performance; Melodrama (The Norton
Anthology of Drama, pp. 50 – 60).
- Richard Brinsley Sheridan’s The School for Scandal (Canvas)
January 27, 2016
- SENTIMENTAL DRAMA AND ROMANTICISM (II)
Read:
- Richard Brinsley Sheridan’s The School for Scandal (Canvas)
February 1, 2016
- SENTIMENTAL DRAMA AND ROMANTICISM (III)
- MODERN EUROPE: Theater and Culture to 1950; Theater and Culture Since
1950; Modern European Drama in Performance; Melodrama
Quiz 1
February 3, 2016
- SENTIMENTAL DRAMA AND ROMANTICISM (IV)
- MODERN EUROPE: Theater and Culture to 1950; Theater and Culture Since
1950; Modern European Drama in Performance; Melodrama
Read:
- Beaumarchais’ The Marriage of Figaro (Canvas)
February 8, 2016
- SENTIMENTAL DRAMA AND ROMANTICISM (V)
Read:
- Victor Hugo’s Hernani (Canvas)
- J. Watson & G. McKernie’s “Romanticism, 1780-1850” (Canvas)
February 10, 2016
- NATURALISM AND REALISM
Read:
- August Strindberg’s Miss Julie (The Norton Anthology, pp. 669 – 709).
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-
Emile Zola’s “Naturalism in the Theatre” (Canvas).
February 15, 2016
- NATURALISM AND REALISM (II)
Comparing Ibsen, Strindberg, and Chekhov
Read:
- Henrik Ibsen’s Hedda Gabler (The Norton Anthology of Drama, pp. 711 –
771).
Quiz 2
February 17, 2016
- NATURALISM AND REALISM (III)
Comparing Ibsen, Strindberg, and Chekhov
Read:
- Anton Chekov’s The Cherry Orchard (The Norton Anthology, pp. 823 –
867).
- Constantin Stanislavski’s “Direction and Acting” (Canvas).
Group Assignments 1 & 2
February 22, 2016
MIDTERM EXAM
February 24, 2016
Open Discussion
February 29 Through March 4, 2016: Winter Recess
March 7, 2016
- FUTURISM, SYMBOLISM, SURREALISM, & DADAISM
Read:
- Alfred Jarry’s King Ubu (Ubu Roi). (Canvas)
- F.T. Marinetti, “The Founding and Manifesto of Futurism.” (Canvas)
- RoseLee Goldberg, “Futurism” (Canvas)
March 9, 2016
- FUTURISM, SYMBOLISM, SURREALISM, & DADAISM (II)
Read:
- Apollinaire’s Mammaries of Tiresias (The Breasts of Tiresias). (Canvas)
- RoseLee Goldberg, “Dada” (Canvas)
March 14, 2016
- EXPRESSIONISM AND THE EPIC THEATRE
Video: The Cabinet of Dr. Caligari
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March 16, 2016
- EXPRESSIONISM AND THE EPIC THEATRE (II)
Read:
- Georg Kaiser’s From Morn to Midnight (Canvas or read online at
http://www.archive.org/stream/frommorntomidnig00kais#page/n11/mode/
2up)
- Bertolt Brecht’s The Resistible Rise of Arturio Ui (Canvas)
- Bertolt Brecht (The Norton Anthology, pp. 1005 – 1009).
- Bertolt Brecht’s “The Modern Theatre is the Epic Theatre” (Canvas)
Quiz 3
March 21, 2016
- EXPRESSIONISM AND THE EPIC THEATRE (III)
Read:
- Bertolt Brecht’s The Resistible Rise of Arturio Ui (Canvas).
Video (2): Brecht on stage & Bertolt Brecht
March 23, 2016
- Open Discussion
-
Group Assignments 3 & 4
March 28, 2016
- ABSURDISM AND AVANT-GARDE
Read:
- Eugene Ionesco’s Rhinoceros (Canvas).
- Antonin Artaud’s Excerpts from The Theater and Its Double; Martin Esslin’s
Excerpts from The Theatre of the Absurd (Canvas)
March 30, 2016
- ABSURDISM AND AVANT-GARDE (II)
Read:
- Eugene Ionesco’s Rhinoceros (Canvas).
- Frederic Jameson’s “Postmodernism and Consumer Society” (Canvas).
Video: Brace up! The Wooster Group
April 4, 2016
- ABSURDISM AND AVANT-GARDE (III)
Quiz 4
April 6, 2016
- POSTCOLONIALISM
Read:
- Aimé Césaire’s The Tragedy of King Christophe (Canvas).
- Frantz Fanon’s “The Fact of Blackness” (Canvas).
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April 11, 2016
- POSTCOLONIALISM (II)
Read:
- Wole Soyinka’s Death and the King’s Horseman (The Norton
Anthology, pp. 1289 – 1341).
April 13, 2016
- POSTCOLONIALISM (III)
Open Discussion
April 18, 2016
Open Discussion – Are we ready for the final exam?
CONCLUDING REMARKS.