Grades and Course Information %

Transcription

1 Drama History of Theatre from 600 B.C to 1850 History of theatre, dominantly in the Western tradition, from antiquity through to the Romantic revolt and the beginnings of realism. The evolution of theatrical production (acting, production, theatre architecture) will be emphasized, with assigned plays being examined largely within the context of the production and performance dynamics of their period. Instructor Moira Day Rm 187, John Mitchell (Off.) (Home) (emergency only) Office Hours MW 11:00-1:00 Booklist Brockett, Oscar. History of the Theatre 9th edition. Allyn and Bacon, 2003 Klaus, Gilbert, and Field. Stages of Drama 4th edition. St. Martin's Press, Theatre History Notes Package. Bookstore Grades and Course Information Mid-Term 10% Group Project 30% Quizzes 5% Response Papers (4 x 5%) 20% Participation 5% Final Exam 30% %

2 I will be in class five minutes ahead of time for consultation, and begin and end lectures on time. I will also return quizzes within TWO class periods after giving them, and return exams within TEN DAYS after giving them. Exams, quizzes and papers not picked up at that class time can be picked up during office hours. Please review the Department policy on regular attendance at all drama classes. More than three unexcused absences will mean a 1% docking of your participation mark. If you miss more than 1/3 of your classes for whatever reason, you will lose the full participation mark. Please phone if you are unable to attend. Attendance at student class seminars is compulsory because (1) these are graded "live" performances that can be negatively affected by poor audience and participation. For this reason, 1% OF YOUR OWN INDIVIDUAL GROUP GRADE WILL BE DOCKED FOR EVERY UNEXCUSED ABSENCE FROM A STUDENT SEMINAR. IF YOU ARE ACTUALLY IN THE SEMINAR, YOU WILL LOSE 25% OF YOUR GROUP GRADE FOR AN UNEXCUSED NO-SHOW. Students are expected to be punctual and to submit all class work on time. Any requests for an extension must be submitted one week in advance of the formal deadline. Unexcused late assignments, except in the case of certifiable illness or death in the family, will be heavily penalized (10% per day deducted). NO CLASS WORK WILL BE ACCEPTED BEYOND THE FINAL EXAM EXCEPT IN THE CASE OF AN OFFICIAL INCOMPLETE GRANTED BECAUSE OF ILLNESS OR DEATH IN THE FAMILY. Students who submit ALL their assignments, including quizzes and critiques, will receive a 1% bonus on their term mark. Students will also receive a 1/2% bonus mark on their term mark for every play reading attended. Students should be aware that there is a $3.00 photocopy fee per term to be paid to the instructor by the end of the September. Instructors are NOT permitted to reschedule final exams at their own discretion. Please take heed of the final exam dates (December 9-23) and do not schedule other activities at that time. If you find yourself in difficulties and are considering dropping the course late in the term, please come and talk to me first. If you decide to drop the course, please come and notify me so I can take your name off my record book. (Sept 21. Last day to withdraw without financial penalty. Nov 15 Last day to withdraw without academic penalty.) If there is a time conflict with my office hours, then feel free to make an appointment or leave me a number where I can reach you. I can't give you heavy-duty, on-going counseling, but I'd be delighted to help you with any immediate problem I feel is within my power to handle, and if I feel it isn't, I'll try to refer you to people or places that can help you with it. Welcome on board!

3 Schedule Sept 9 Introduction -- The Classical Period 14 Library Orientation Murray The Greeks and Greek Tragedy (N.B ) *Agamemnon (Aeschylus) 23 Sophocles and Euripides *The Trojan Women Greek Comedy (N.B ) *Lysistrata 30 The Romans ( N.B ) --- Oct 5 Group 1 The War to End All Wars 7 Group 2 Let the Games Begin! --- The Birth of the European Theatre 12 The Medieval period N.B )1 st response paper 14 The Renaissance ( N.B ) Group 3 The Commedia dell Arte: Send in the Clowns! 21 Group 4 Those Magnificent Men and Their Flying Machines! Sum up 28 ***Mid Term Exam*** --- The Triumph of the Neo-Classical Ideal Nov 2 Elizabethans and Jacobeans (O.B , N.B )*Dr. Faustus (Marlowe) 4 Group 5 That d--nable Mr. Marlowe and that Plague of Players Neo-classical France (O.B N.B )2 nd response * The Misanthrope 11 ***Remembrance Day*** Restoration &18th Century England (N. B ) 18 Group 6 Enter the actress! --- Revolt and Revolution Romanticism and early Realism 23 The Romantics (N.B ) 3 rd response paper *Hernani@ 25 Group 7 Beyond the Barricades: The Storm over Hernani th Century England (N.B ) Dec 2 Sum up 4 th response paper * Denotes script available on-line

4 Play Reading Schedule All play readings will take place in the seminar room (Rm 192) in t h e John Mitchell Building at 8:30 on Sunday evenings from September 15 - October 27, and at 9:30 from November 3 to November 17. 1/2% bonus mark will be added to your term grade for every play reading attended. Tea, coffee, cookies and a limited number of mugs will be supplied. Friends are welcome. Sundays, 8:30 p.m. Sept 12 Agamemnon (Aeschylus) 19 The Trojan Women (Euripides) 26 Lysistrata (Aristophanes) Oct 24 Dr. Faustus (Marlowe) Nov 7 The Misanthrope (Molière) 14 Hernani (Hugo)

5 Brockett Readings Section Titles The Classical Period The Greeks Theatre and Drama in Ancient Greece The Hellenistic Theatre Tragedy The Origin of Tragedy The City Dionysia in the Sixth Century Tragedy in the Fifth Century The Dramatic Festivals of the Fifth Century Play Selection and Financing Actors and Acting The Chorus Music and Dance Costumes and masks Theatre Architecture Auditorium and Audience Looking at Theatre History Comedy The Satyr Plays Greek Comedy in the Fifth Century Athenian Theatre After the Fifth Century The Hellenistic Theatre Dramatic Theory New Comedy Actors and Acting Costumes Theatre Architecture Greek Mimes The Roman Theatre Etruscan Antecedents The Roman Context Roman Festivals Drama Under Romans Other Entertainments Productions Arrangements Roman Architecture Other Structures For Entertainments Scenery Actors and Acting Masks and Costumes Music The Decline of the Theatre in Rome The Romans The Roman Theatre

6 The Birth of the European Theatre The Medieval Theatre European Theatre in the Middle Ages The Theatre 500 to 900 C.E. The Liturgical Drama The Staging of Liturgical Drama Looking at Theatre History The Feast of Fools The Late Middle Ages Performances Outside the Church Vernacular Religious Drama Production Arrangements The Director Actors and Acting Costumes The Stages Scenery Special Effects and Machinery Music Audiences and Auditoriums Secular Dramatic Forms Farce The Morality Play Chambers of Rhetoric Interludes Tournaments, Mummings, and Disguisings Royal Entries and Street Pageants The End of Medieval Drama Looking at Theatre History The Renaissance Italian Theatre to 1700 Renaissance Drama Mannerism and the Beginnings of the Baroque The Neoclassical Ideal Intermezzi and Opera The Development of New Scenic Practices Development of Theatre Architecture Machinery and Special Effects Music and Dance The Festival Context Stage Lighting Commedia dell arte The Decline of Italy Looking at Theatre History

7 The Triumph of the Neo-Classical Ideal The Elizabethans and Jacobeans English Theatre to 1642 Early Tudor Drama The University Wits Shakespeare and his Contemporaries Jacobean and Caroline Dramatists Government Regulation of the Theatre Acting Troupes The Public Theatres The Private Theatres Scenery, Properties, Special Effects, and Music Costumes Audiences The Stuart Court Masques Looking at Theatre History Neo-classical France French Theatre to 1700 Theatre at Court and in Schools Prior to 1600 The Public Theatre in Paris Before 1595 The Public Theatre The Triumph of the Neoclassical Ideal Acting Companies The Public Theatres Scenic Practices in the Public Theatres The Triumph of the Italian Ideal in Scenery The Naturalization of the Italian Ideal French Drama Acting Companies The Organization of French Acting Companies Theatre Architecture and Scenic Practices The Close of the Seventeenth Century Looking at Theatre History

8 Restoration and 18 th Century England English Theatre to 1800 The Restoration Theatrical Activity The Reestablishment of the Theatre Acting Companies English English Drama Government Regulation of the Theatre The 18 th Century English Drama The Playwright Financial Policies Theatre Architecture Scenic Practices Costume Practices Actors and Acting Audiences and Performances Revolt and Revolution Romanticism and Early Realism The Romantics Continental European Theatre in the Early Nineteenth Century Theoretical Foundations of Romanticism Romantic Drama in Germany Postromantic German Language Drama Theatrical Conditions on German-Language Theatres The French Theatre French Drama to the 1850s Theatrical Conditions in France to the 1850s Directing and Acting in France to the 1850s Scenery, Costume and Lighting in France to the 1850s 19 th Century England English-Language Theatre in the Early Nineteenth Century England Trends in English Theatre English Drama to the 1850s English Theatrical Conditions British Theatre to 1990 Macready and Vestris

9 Group Projects Oct 5 Group 1 The War to End All Wars The Peloponnesian War ( B.C.E.) had much the same significance for Ancient Greece that World War I and II had for 20 th Century Europe. Athens, then at the height of its cultural and political power over the Greek world, entered the conflict confident that it could strike a quick decisive victory over Sparta and its allies. Instead, there followed a prolonged, debilitating war that eventually engulfed the entire Greek peninsula and left victors and losers alike politically and economically devastated. Of the great Greek playwrights, Euripides ( B.C.E.) and Aristophanes ( B.C.E.) were the most profoundly affected by the conflict. At a time when it was becoming increasingly unpopular and unsafe to comment on, let alone criticize the war and the Athenian leadership in the public forum, they did both. The Trojan Women (415 B.C.E.) and Lysistrata (411 B.C.E.) are late masterpieces of the first great age of Greek philosophy, thought, and idealism that both celebrate that earlier era while powerfully and movingly evoking the changing social and political currents of the time that were about to sweep that Golden Age away. Discuss. October 7 Group 2 Let the Games Begin! Plautus, Terence, and Seneca, the most noted playwrights of the Roman era, were products of a Roman Republic ( B.C.E.) and Augustan Age 27. B.C.E. 14 C.E.) that consciously tried to emulate the best features of Greek culture and learning in its own writing and criticism. Significantly, Seneca, the last extant Roman playwright writing out of the Greek models, did not survive the transition from the Augustan Age to the Imperial Age. The cultural, social, political and economic imperatives of the Empire ( C.E.) demanded a very different theatre for a very different age. In the place of Greek decorum and formalism, the Coliseum was to offer its audience spectacle and realism on an unprecedented scale in the Western tradition. Discuss the rise and decline of the Roman games as an indicator and symbol of the rise and decline of the Roman Empire. October 19 Group 3 The Commedia dell Arte: Send in the Clowns! While the Renaissance saw the rebirth, especially in the Courts and Universities, of secular playwriting based on Greek and Roman models of comedy, tragedy, design and criticism, the most popular drama of its kind was much more performance than textual in nature and rooted in rougher, cruder, more physical forms of theatre from the classical tradition. The Commedia dell Arte not only set the model for the kind of small, versatile professional acting company that was to survive into the 19 th Century and tour all over the continent, but an enduring acting style that was to continue into the 21 st century. Its characters and plots were also to become an important part of the more enduring continental drama of the Baroque and 19 th Century. Yet, Church, Court, State and civic authorities alike often had a deeply ambivalent if not openly hostile attitude towards the Commedia that contributed to keeping most troupes on the move even when they found official favor or patronage for a time. Discuss both the reasons for the Commedia s enormous popularity and influence on the Western tradition, and the reasons for its marginalization and eventual decline in the mainstream theatrical tradition. October 21 Group 4 Those Magnificent Men and Their Flying Machines! The building of permanent indoor theatres to house commercial, school or court audiences art gave the designer an unprecedented importance in the theatre of the 16 th and 17 th centuries. Figures such as Serlio ( ), Sabbatini ( ) and Torelli ( ) on the continent and Inigo Jones ( ) in England were valued as theatrical magicians who could combine the most recent discoveries in classical scholarship, with modern advances in art, sculpture and painting, dyes and textiles, science, architecture and engineering to effect a far-reaching technical Revolution in the theatre that was to remain unsurpassed until the Industrial Revolution. To the extent that an increasing emphasis on spectacle and pageantry became part of the social, political and cultural warfare waged between the emerging nation states of Europe during the late Renaissance-Baroque era, one could argue that the designer also had unprecedented power in the affairs of State as well. Discuss the Renaissance/Baroque designer as both technical and political wizard.

10 November 4 Group 5 That D--nable Mr. Marlowe and the Plague of Players It has sometimes been suggested that Dr. Faustus, of all Marlowe s plays, has continued to be studied and produced since its first appearance, at least in part because it caught so sharply the tension of the age between an older Medieval metaphysical and moral order at once reassuring and stifling in its unchanging, ascetic hierarchical nature - and the rising tides of a Renaissance/Baroque materialism and humanism whose promise of unrestricted human liberation and ennoblement often led the human being into an abyss of chaos, amorality and debauchery instead. It was a tension that not only profoundly shaped Marlowe s own short, controversial life, but the ongoing battle between the Puritans and the Playmakers in Elizabethan and Jacobean England until. Discuss the play, in script and performance, as both symptom and symbol of a larger moral, cultural, and political battle between the forces of art and authority that was already underway by 1589 and continued until the closing of the theatres in November 18 Group 6 Enter the actress! While there had been a long tradition of professional actresses performing in sexually mixed companies on the Continent from at least the 1500s, it was not until 1660 that women characters on the English stage were for the first time portrayed by - women. While her introduction to the English stage was symptomatic of an immediate cultural, political and sexual revolution sweeping away the last traces of the Puritan regime, the actress had a profound effect on the English tradition of acting, staging and playwriting from the Restoration on. While many of the early actresses saw acting as simply another form of sexual commerce that could help them buy power and influence in a male-dominated world, many increasingly not only survived but prevailed as working women in a demanding public profession long before it was socially acceptable for most of their gender to do so. Discuss in reference to the lives and careers of at least two actresses of the Restoration period and that of Sarah Siddons ( ) November 25 Group 7 Beyond the Barricades: The Storm over Hernani In the French tradition, aesthetic order and socio/political order have traditionally been very closely linked. With the official censoring of Corneille s enormously Le Cid (1637) because of its structural irregularities, neo-classicism, as sanctioned by the French Academy, became virtually the State aesthetic of Louis XIV s strongly autocratic, imperialistic France. In a similar fashion, the triumph of Victor Hugo s Hernani in 1830, marked the triumph of Romanticism over Neoclassicism not only in the theatre, but the larger cultural, political and social world outside of it.. Discuss the play, in script and performance, as both symptom and symbol of a larger moral, cultural, and political struggle between the Old and the New Regime in late 18 th century and early 19 th century Europe.

11 Outlines for Group Projects Objectives The purpose of this project is to help students apply the general knowledge of theatre history they have acquired in the lectures and readings to a more focused in-depth study of one aspect of theatre history. This project will involve (I) A group presentation of the group s research into the subject. Each speaker will talk minutes on an area of the topic they have individually researched. (II) A practical application and demonstration and demonstration of that research. This should occupy 5-10 minutes of the period. It can involve (1) a live reading or staging of a scene or part of a scene or (2) the use of audio or visual materials to demonstrate elements of the lecture or (3) any combination of the same. It can be placed at the start or the end of the seminar or dispersed throughout it. (III) An annotated bibliography of the research sources consulted in the project This should include all primary and secondary sources in terms of plays, books, articles, websites, audio-visual materials consulted in the researching the topic organized into proper MLA format. By doing this exercise you will: (1) deepen your own knowledge of an important aspect of theatre history by finding and accessing a wide variety of library, archival and electronic sources on the subject (2) sharpen your ability to recognize, analyse and understand the relationship between theatre and the larger technical, social, political, economic and cultural forces shaping and being shaped by it (3) sharpen your ability to communicate that knowledge to others by: - working effectively with others within the context of a research/production team to divide up the topic, share information as you find it, then organize and present it effectively in an oral situation - effectively share your research and insights with your fellow students in an interesting, engaging fashion that both teaches them about the subject and intrigues them to want to know even more about it. - giving them an annotated bibliography on the subject so they can pursue the topic further on their own

12 Time Frame Sample schedule 3 weeks Establish overall schedule. Exchange phone numbers and e-addresses. General areas of research for group members established 2 weeks Research your individual areas. Keep track of overall research. Adjust people s assignments or areas of research as needed. If you have any questions or concerns be sure to raise them with the instructor. She is more than willing to give you help or guidance with the topic. 1 week Group meeting with the instructor. Everyone should be present, and you should be able to outline for me how the whole presentation is going to work and what sources you are using to research it. A preliminary bibliography (worth 2% of the mark) should be submitted to me to check over for completeness and stylistic accuracy. This is the time to voice any needs or concerns you have going into the home stretch, double-check with me that my lecture materials won t overlap with yours, and that you re aware of all the materials at your disposal. This is also the time to tell me about any a-v needs you may have Seminar Preliminary bibliography returned 1 week All seminar and research materials should be submitted. Finished version of bibliography should be submitted. 2 week Written group critique with letter grade. Oral interview with every group member for wrap-up and assessment. Research materials returned Selection of Students Students will work in groups of four or five (six maximum) While students will be allowed to choose their own group, it is suggested that they try to strike a balance between production and academically-oriented members in their group, since skills in both areas will be needed. It is also wise to try to co-ordinate schedules with other group members well in advance. Evaluation Teamwork marks are usually distributed evenly to each member of the group according to the effectiveness and quality of the entire project. However, some consideration will be given to individual contribution as judged by the quality of research notes, individual section of bibliography, regular attendance at group meetings as documented by other members and the interview

13 Group Presentation 20% All students are expected to contribute and take part in the group seminar. 50% of the grade will be assigned to content (accuracy, depth and comprehensiveness of material presented) and 40% to presentation (effective organization and structuring of the material, pacing of the presentation, and clarity, variety and expressiveness of delivery). 10% will be assigned to how well the practical synthesizes and illustrates the research covered in the seminar. Bibliography 10% While it is expected that students will ordinarily be responsible for handling a particular area of research in the bibliography, the entire bibliography will be marked as a group mark, unless otherwise requested by the whole group. Content 60%: 30% will be assigned to quality of the annotations, 30% to the overall content (thoroughness, variety and comprehensiveness of the research. Bibliographies based solely on websites or containing less than ten separate items will not be accepted, and Style and format 40% In this context, correctness and consistency of style and format are very important. Significant irregularities or inconsistencies in both will be heavily penalized Guidelines For Seminars 1. Practice reading your material OUT LOUD (preferably before a sympathetic audience) and projecting from the diaphragm. Nerves often cause us to "speed up" or become a bit "breathy" and familiarity with your material will help you to be a more relaxed, confident speaker capable of making effective eye contact with your audience. Also time your talk before you give it. Inexperienced presenters are often surprised either at how much time is left over at the end of their material - or more commonly - how much material is left at the end of their time. 2. Time your talk both individually and as a group as spoken out loud before you give it. Inexperienced presenters are often surprised either at how much time is left over at the end of their material or, more commonly how much material is left at the end of their time. Avoid putting your team members on the spot by giving them too much time to fill or not enough time to present their own material. 3. Organize well, making your key points or thesis clear early on in the talk, and don't be afraid to highlight or reinforce them as you go on. A "live" audience often has to be "cued" more clearly and more often as to where the presentation is going, than a reading audience. A reader can return to puzzle out obscure or difficult passages he/she missed on the first read-through, or was too hurried to absorb properly; a "live" audience has to "get it" the first time or it's gone. 4. Return to your key points or thesis right at the end of the talk, and restate the main points or issues you want your audience to remember. If you ve done a good job, you ve probably covered a lot of material. Help your listeners prioritize the information before they go. Stop and remind your audience again of the main things they should remember, and why they are worthy of extra thought or consideration.

14 5. Humor is fine, but avoid flippancy; if you don't appear to take your subject and yourself seriously and with some enthusiasm, your audience won't take it and you seriously either. At the same time, be careful of being overly dry and emotionally "distanced" from your material. What registers as a desirable state of "objectivity" in the written medium can register on a live audience as disinterest, flatness or lack of engagement with them and/or your subject. 6. Review all your notes before you go in to the presentation and have them close at hand when you go in. If people get interested in what you've said in the talk they will probably want to ask larger, more general questions about the subject or ask you to elaborate on specifics or details. Also, let people know if questions are welcome during the talk, or if you would prefer them to wait until afterwards. 7. The same plethora of facts, figures, statistics, dates and names that may delight a reader, may leave a listener numb and reeling. These are often better included in the handout for quick reference, or chalked up on the board. 8. Be considerate of your fellow-presenters and remember to function as a team. Schedule as much and as far as you can in advance, and be careful to honour your commitments and deadlines especially when you are down to the one-week mark. Share research materials with others in your group and give tips to where they can find things relevant to their work if not your own. Brainstorm and communicate with each other regularly. 9. Review and be familiar with each other's material so you can eliminate unnecessary repetition of information and draw larger connections and links between each other's individual research sections. Listen attentively while your fellow-presenters are talking and be considerate of time limits. 10 Acquaint yourself with all the other group topics and be aware of how your own project fits into the big picture. If you are not sure of what your focus should be, or how to avoid needless repetition of research material that you could potentially see being covered by the lecturer or by other groups, seek guidance from the instructor. The topics are designed to build on and complement each other: not duplicate, conflict or compete with the other For Bibliographies The Classical Period I The Greeks Due October 14 II The Romans Due October 14 The Birth of the European Theatre III The Commedia Due November 2 IV The Designer Due November 2 The Triumph of the Neo-Classical Ideal V Marlowe Due November 16 VI The Actress Due November 25 Revolt and Revolution Romanticism and early Realism VII Hernani Due December 2

15 The assignment will consist of as complete a listing as possible of all the resources in the library system available to students and consulted by the group in each of the areas under examination. Each bibliography will: 1. Include a brief 1-2 sentence summary of each item and review of its potential worth and interest to a scholar in the area 2. Be organized into the following categories. Depending on your topic, some may be much less applicable than others, but all should be considered at the outset. A. General Reference B. Dramatic Literature and Criticism I Area of Specialty 1. Playwrights (a) Individual Theatre Artists Name (alphabetical order by surname) (b) Playwrights - General 2. Critics (a) Individual Theatre Artists Name (alphabetical order by surname) (b) Critics - General C. Staging and Production (a) Individual Theatre Artists Name (alphabetical order by surname) (b) Actors and Acting - General 1. Actors and Acting 2. Stage Architecture and Scene Design (a) Individual Theatre Artists Name (alphabetical order by surname) (b) Stage Architecture and Scene Design - General 3. Costuming and Make-up (a) Individual Theatre Artists Name (alphabetical order by surname) (b) Costuming and Make-up - General

16 3. Be organized internally in each category (as appropriate to the material available in each). (a) Individual Theatre Artists Name Primary Plays Other (Autobiographies, memoirs, critical writing) Secondary Books Periodicals (Scholarly articles published since 1997) Non-Print Sources (Film, video, sound recordings, Taped speeches, interviews, TV programs, paintings, sculptures, photographs, sketches, designs, exhibitions) Electronic Sources: (on-line journals, articles or books, publications on CD-ROM or diskette, information database, professional site.) (b) (Subject area) - General Books Periodicals (Scholarly articles published since 1997) Non-Print Sources (Film, video, sound recordings, Taped speeches, interviews, TV programs, paintings, sculptures, photographs, sketches, designs, exhibitions) Electronic Sources: (on-line journals, articles or books, publications on CD-ROM or diskette, information database, professional site.) 4. Will list the items alphabetically within each section according to the last name of the author or editor of the work. (Comparative studies of several writers may be cross-indexed and listed more than once). 5. Include (1) full bibliographic information in the correct format and order for each entry according to The MLA Handbook for Writers of Research Papers, 5 th Edition), (2) the call number of the item as given in the library catalogue, and (3) its location if it is situated outside of the open stacks of the main library. 6. Will be neatly typed on 8 x10 paper, one side, in clear legible print, with all the names of the group members included on the title page. The first page should also include the title of the research area and names of the participants. 7. Will be copied and run off for distribution to the class by the instructor by the time of the final exam.

17 Examples A General Reference This refers to comprehensive works dealing with the larger historic, cultural or literary survey of the period under examination, or of the theatre of an entire period. It can also refer to larger microfilm or microfiche collections of original documents from a given century or period that may concentrate on or contain significant theatrical or dramatic materials or records. It can also refer to scholarly journals or indices devoted to the study of the period. Example: A. General Reference Brockett, Oscar. History of the Theatre 9th edition. Allyn and Bacon, PR 2980.B B. Dramatic Literature and Criticism 1. Playwrights This refers to dramatic work (Plays) written by specific playwrights for both the live stage and a reading audience. It can also refer to letters, articles, diaries, journals, memoirs or technical manuals written by the playwright that have a dramatic or theatrical focus. (Other) Some periods may have a high number of playwrights who can be categorized individually. Others (i.e.: Medieval period) may have a high proportion of anonymous texts and the number of individual listings may be small in comparison to the general section. Secondary usually refers to works written by other writers about specific playwrights, their lives and their work. This includes biographies and literary or critical studies. The General section might cover works on the subject of plays and playwriting in the period which do not deal specifically or at great length with any one figure. They may be thematic works that incorporate a range of writers and plays to make a larger point, some of whom may be relatively minor writers who do not have full-length studies written on them, and don t merit a separate listing. Example: Kyd, Thomas Primary Plays Kyd, Thomas. The Complete Works of Thomas Kyd. London: Methuen P, PN 1655.M SP. COLL The Spanish Tragedy. London: Methuen, 2001 PN 8970.M Other Calph, Jonathan. Ed. The Letters of Kit Marlowe. New York: Salverson P, PR 2008.C EDUC

18 Kyd, Thomas. Memoirs of a Misspent Youth London: Rapid Fire P, 1930 PR 2890.K Secondary Books Azel, Ralph. The Genius of Thomas Kyd and Kit Marlowe. New York: Salverson, PR 2890.A Bottswain, Jessica. Christopher Marlowe: Man and Legend. New York: Allyn and Bacon, PR 2890.B Periodicals Mazelmatosky, Bruce. The Sere Leaf : Death and Immortality in Kyd s The Spanish Tragedy. English Renaissance Studies 78 (1998): PR 2890.M Non-Print Sources The Spanish Tragedy. Dir. Trevor Nunn. Perf. Christopher Plummer, Maggie Smith and Kate Winslett. Miramax, PN 8970.A EDUC Electronic Sources Calabrese, Jason. The Murderous Dynamics of Revenge in Kyd and Marlowe. Tudor and Elizabethan Theatre Studies 9.1 (1997). 22 June Playwrights General Books Stone, Patrick. The Early Wits of the Elizabethan Stage. London: Salverson P., PN 8970.S Critics This refers to works written by or about specific critics, reviewers and commentators of the period, specifically on the drama and theatre of their time. As in the case of the playwriting category, there may be a high number of individual entries proportionate to the general category, especially in later ages. There may be much less need for a separate Play category here, though some critics did occasionally experiment with writing drama as well. The general category may again cover thematic studies that incorporate a variety of works and figures from the period, some of whom may not merit a separate entry. Example:

19 Aristotle Primary: Aristotle. The Complete Works of Aristotle: The Revised Oxford Translation. Ed. Jonathan Barnes. 2 vols. Princton: Princton UP, BX 8970.A Aristotle on Theatre: Selections. Ed. Fred Barranger. Toronto: Schola P, BX 8970.A Secondary: C. Staging and Production: Bell, Tony, ed. Essays on Aristotle s Aesthetics. Montreal: Delphi Inc., BX 8970.B Actors and Acting This refers to works written by or about specific actors of the period, their lives and their work. In great periods of Acting the individual categories may be quite large; in other periods, there may be few in comparison to the general section. The primary category may include plays, autobiographies, and memoirs. Secondary works may include biographies and scholarly studies written by others. Comparative studies may be cross-indexed and listed more than once. A general category on Acting may include general works on methodology, practice and theory. (a) Individual Theatre Artists Garrick, David Primary Garrick, David. Memoirs of a Life in the Theatre London: Routledge, PN 8970.G The Craft of Acting London: Routledge, PN 8970.G Secondary Jacobi, Gwen, and Sebastian James. The Giants: Garrick and Siddons. Saskatoon: U of Saskatchewan P, PN 8970.J (b) Acting General Books Sanderson, George. Actors and Acting in the 18 th Century. Regina: U of Regina P, PN 8970.S Stage Architecture and Scene Design

20 These refer to works written by or about theatre architects and designers, and their work. Again, the number of individual entries may vary according to the age, but there are apt to be much fewer individual as opposed to general entries, and there may be a larger number of entries in the non-print and electronic categories. Example: (b) Stage Architecture and Scene Design General Books Gilman, Sander, et al. The Triumph of the Proscenium Arch. London: Longman, PN 8970.G Costuming and Make-up These refer to works written by or about costume designers, and their work. Again, the number of individual entries may vary according to the age, but there are apt to be much fewer individual as opposed to general entries, and there may once more be a larger number of entries in the non-print and electronic categories. Mask is apt to be much more important in the earlier than the later periods. Example: (b) Costuming and Make-up General Books Dean, Eric J, Martin H. Goldfarb, and Janet Marvel. Five Hundred Years of Mask in the Theatre. Toronto: U of Toronto P, PR 8970.D Response Papers

21 The response paper should serve as a considered response to the assigned historical readings in both the handouts and the Brockett text. It is meant to clarify and focus your own thinking about the material you have read help initiate class discussion give the instructor feedback on areas of information you would like to know more about or feel require further explanation and clarification before you are ready to be examined on them and give the instructor feedback on what issues and areas of information you would like to be tested on since you view them as key to understanding the period and the theatre that comes out of it. It should be about words and 3 to 4 pages in length. It can expand on one point at length or deal with two or three smaller ones (much more than that and you may be spreading yourself too thin.) It should be submitted at the end of the class when it is due, and will be returned at the time of the next class. If you are unable to attend the class in person, please arrange for the response paper to appear even you can't. Things you may want to comment on: (1) how the readings illuminate or clarify for you certain historical, literary or social themes and concerns we have raised in class. (2) where you find interesting comparisons, contrasts or parallels between what you see in the readings and what you have discovered in your own area of study or experience. (3) something about the reading that particularly excited, intrigued, disturbed or puzzled you and you would like to share with others (4) something about the reading that raised more questions than it answered and you would like to discuss at greater length At its best, the response paper should read as an informal but thoughtful short essay that develops your insight, thesis, argument, query or quibble in a clear, articulate and concise fashion. Humor, and poetic or metaphoric personal touches are fine - it is a personal essay after all - but only as long as they support and advance the ideas you are trying to express and do not become a substitute for them. As with an exam or quiz, I will not be putting a high premium on formal style and mechanics, but I do expect the response paper to be clear, neat and legible, and will be paying close attention to how well you express, develop and argue your thoughts in writing as based on a close, reflective reading of the assigned material. NOTE: Response papers that simply duplicate the analysis of plays already covered by the quiz questions will be severely docked since you have already been given credit for that work in the quiz.

22

23