Drama Advanced Studies in Theatre History I

Transcription

1 Drama Advanced Studies in Theatre History I Intended for students who have acquired some background in the theatre from 600 BCE to 1850 CE. The course will involve more intensive study of the aesthetic, literary and production/performance aspects of the past, integrating theoretical and practical approaches to the material. Moira Day Rm. 187, John Mitchell (Office) (Home) moira.day@usask.ca Instructor Office Hours: MW 11:30-1:30 Booklist Brockett, Oscar. History of the Theatre (9th edition) Theatre History Notes Package. Bookstore Critiques 15% Seminar work 25% Essay 15% Bibliography 5% Participation 10% Final Exam 30% % Grades

2 I will be in class five minutes ahead of time for consultation, and begin and end lectures on time. I will also return critiques within TWO class periods after giving them, and return larger assignments within TEN DAYS after giving them. Exams, quizzes and papers not picked up at that class time can be picked up during office hours. I will also be scheduling time to meet individually with students a week prior to seminar presentations, and will do a written critique of their presentation within a week of the seminar period. Essays will be due at the time of the seminar. Class participation requires regular attendance. A student who misses for more than three unexcused absences a term will be docked 50% of the participation grade for that term. If you miss more than 1/3 of the classes in any term for any reason other than certifiable illness you will, at minimum, lose the full participation grade for that term. (Please review the Attendance Requirement in All Drama Courses.) Please phone or if you are unable to attend, preferably in advance of the absence. 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, 5% 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 should be aware that there is a $3.00 photocopy fee per term to be paid to the instructor by the end of January. Instructors are NOT permitted to reschedule final exams at their own discretion. Please take heed of the final exam dates (April 11-30) 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. (Jan 16. Last day to withdraw without financial penalty. March 15 Last day to withdraw without academic penalty.) Welcome on Board!

3 Jan 6 Introduction Antiquity the Greek and Roman period 8 Plato and Aristotle Women as figures and realities on the classical stage The Medieval Period 15 Women and the rise of the great religions --- The Eastern tradition women as performers 20 Sanskrit, Chinese, Japanese, Theodora of Byzantium (c. 500-c.548 C.E.) The Western Tradition women as writers The Monastic Tradition 22 Hrotsvitha of Gandersheim ( ), Hildegard of Bingen ( ) The Conversion of Thais (Hrotsvitha - 10 th c. C.E.) 29 The Play of the Virtues (Hildegard ) Feb 3 Marguerite Porete (d. 1310), Katherine of Sutton (Abbess ) Catherine of Siena ( ), Sor Juana Inés de la Cruz ( ) The Courtly Tradition 5 Eleanor of Acquitaine ( ), Margaret of Navarre ( ) The Renaissance women and the rise of the professional theatre 10 Isabella Andreini ( ) and the continental tradition 12 Aphra Behn (1640?-1689) *** Reading Week Feb *** The Restoration Making a living through their pens 24 The Rover (1677) 26 The Winter s Tale - lecture ---- Mar 3 Group 1 La Mirtilla (1588) (Andreini) and the early Pastoral Tradition. The 16 th Century 5 Group 2 The Winter s Tale (1611) and the later Pastoral Tradition. The 17 th Century Group 3 The Winter s Tale. Notable 18 th and early 19 th Century interpretations 12 Group 4 The Winter s Tale. Notable 19 th Century and early 20 th Century interpretations --- The Early 18 th Century 17 The Female Wits Catharine Trotter ( ), Mary Pix ( ), Mary delariviere Manley ( ), Susannah Centlivre (1669?-1723) The later 18 th Century Walking towards Enlightenment 19 Mary Robinson ( ), Elizabeth Inchbald ( ), Hannah More ( ) 24 The Search After Happiness (More -1773) Romanticism Revalidating the uniquely intuitive and emotional 26 Joanna Baillie ( ) and her contemporaries Orra (1806) The 19 th century Closing doors and opening horizons Apr.2 The Industrial Revolution, and the actress as working woman On the threshold of the modern age - Conclusion

4 Deadlines Critiques Jan 27 The Conversion of Thais (Hrosvitha) 29 The Play of the Virtues (Hildegard of Bingen) Feb 24 The Rover (Aphra Behn) 26 The Winter s Tale Mar 24 The Search After Happiness 31 Orra Group Seminars and Group Seminar-related Essays and Interviews Group 1 La Mirtilla (1588) (Andreini) and the early Pastoral Tradition. The 16 th Century Feb 24 March 3 March 10 March 24 1 week meeting. Initial bibliography due. AV requests due Seminar. 1 st draft of essay due 2 nd draft of essay due Final draft of essay. Seminar materials and bibliographies due Group 2 The Winter s Tale (1611) and the later Pastoral Tradition. The 17 th Century Feb 26 1 week meeting. Initial bibliography due. AV requests due Mar 5 Seminar. 1 st draft of essay due Mar 12 2 nd draft of essay due Mar 24 Final draft of essay. Seminar materials and bibliographies due Group 3 The Winter s Tale. Notable 18 th and early 19 th Century interpretations Mar 3 1 week meeting. Initial bibliography due. AV requests due Mar 10 Seminar. 1 st draft of essay due Mar 17 2 nd draft of essay due Mar 24 Final draft of essay. Seminar materials and bibliographies due Group 4 The Winter s Tale. Notable 19 th Century and early 20 th Century interpretations Mar 5 1 week meeting. Initial bibliography due. AV requests due Mar 12 Seminar. 1 st draft of essay due Mar 17 2 nd draft of essay due Mar 24 Final draft of essay. Seminar materials and bibliographies due All interviews April 6-9

5 Group Projects Group One March 3 Isabella Andreini ( ), Maddelena Campiglia ( ), Torquato Tasso ( ), and Giovanni Guarini ( ). Women Imaging women in the early pastoral tradition: Andreini s La Mirtilla and Campiglia s Flori (1588) Scholars have speculated that the roots for pastoral drama may lie as far back as the satyr plays of ancient Greece, though the poetry of such classical poets as Virgil and Theocratus may have done much to present a more idealized portrait of rural life. What is undeniable is that the pastoral reached its first significant flowering as a distinctive European form of drama in Italy. Like much other Renaissance drama, the pastoral experimented with combining the moral and spiritual certainties of the Medieval Christian world with the rediscovered pagan glories of the classical heritage as well as the contemporary humanism of an increasingly pragmatic and materialistic age. Mainstream theatre history usually credits Tasso s Aminta (1573) and Guarini s Il Pastor Fido (The Faithful Shepherd) (1596) as setting the basic model for the form. However, recent scholarship has revealed that women also gravitated towards the pastoral form, producing some of the first important secular drama by women in the Western tradition. While Maddelena Campiglia and Isabella Andreini both wrote pastoral dramas to contemporary acclaim in 1588, only Andreini simultaneously acquired fame as an actress, wife and mother as well as a writer. Examining all four plays, discuss how Andreini and Campiglia s idealized treatments of women and love differ from those of their male counterparts, Focusing on Andreini s own life and career, discuss the extent to which La Mirtilla, in particular, tries to create a positive, constructive image of female sexuality that manages to steer a fine course between the excesses of a sensual love that completely denies the spirit, and of a platonic love that completely denies the body. Group Two March 5 William Shakespeare ( ): Utopian visions falling into the sere leaf women lost between worlds: The Winter s Tale (1611) The pastoral ideal rapidly gained popularity in the arts, culture and literature of Renaissance Spain, France and England over the late 16 th and early 17 th century. In England, John Lyley s Love s Metamorphosis (1589) ushered in an era of playwriting in the pastoral mode that didn t completely lapse in that country until the closing of the theatres in Between 1589 and 1630, writers as diverse as Peele, Greene, Fletcher, Shirley, Jonson, Milton and Shakespeare experimented with pastoral plots, themes, characters and subject matter. However, unlike the expansive Arcadian world of As You Like It ( ), the pastoral world of Winter s Tale (1611) is a more fragile one existing in uneasy conjunction with a more authoritarian, rigid, world of court and king that imposes its own terms, conditions and strictures on the functioning of the idyllic realm. Some scholars have speculated that the distance between Rosalind on one hand and Perdita, Paulina and Hermione on the other, may be the distance between a playwright still at the height of his powers, and an older man no longer comfortable with a world, society and theatre much changed from that of his prime, and aware that reconciliation, accommodation and compromise, while desirable, are seldom as simple for the old than they are for the young. At the same time, it could be argued that all four women characters - regardless of their power as literary creations are symptomatic of a more profound experience of female absence, loss and marginalization beyond the immediate world of the play. That is, all four characters, however brilliantly conceived as roles, are never physically realized by actual women onstage or even written into existence by women playwrights. As such, their hidden or disguised identity not only reflects a fictional world of tyrannical male authority and power at work, but a real world, society and theatre that even at the height of their glory in the late 16 th and early 17 th centuries, imposed strict terms, conditions and strictures on the functioning of actual women in the idyllic realm of its theatrical imagination. Focusing on what is known of Shakespeare s life and career in the theatre, the evolution of English society and theatre between , and the situation of women both inside and outside of the English theatre between 1589 and 1630, discuss the extent to which The Winter s Tale functions within the well-known model of the pastoral drama - and the extent to which it functions - deliberately or otherwise - as a more disturbing and troubling problem play.

6 Group Three March 10 David Garrick ( ), Hannah Pritchard ( ), SarahKemble Siddons ( ) and John Philip Kemble ( ): Reinterpreting The Winter s Tale in an Age of Sense and Sensibility ( ) The attitude of the late 17 th and 18 th century stage towards Shakespeare was paradoxical. While Shakespeare was almost universally hailed as the greatest genius of the English if not the world stage, there was also a feeling that there was much of his genius that was better appreciated in the reading than in seeing. In performance, the plays were often extensively cut, censored or adapted by the actor-manager of the company to suit the popular and critical tastes of the time if they were staged at all. Many plays in the canon were regarded as too bleak, vulgar, flawed or problematic to be staged successfully for a more enlightened or sophisticated audience. As a result, Winter s Tale was not revived until , then even more notably between in two adaptations: Macnamara Morgan's The Sheep- Shearing, or Florizel and Perdita and even more notably David Garrick s Florizel and Perdita. Published and produced as part of Garrick s own campaign to restore more Shakespearean plays to live production, the Garrick adaptation was based mostly on the pastoral scenes between the young lovers with himself and Mrs. Pritchard playing Leontes and Hermione respectively. Sarah Kemble Siddons, the leading actress of her age, played the role of Hermione in 1802, and again even more famously in 1811 under the management t of her brother, John Philip Kemble,. Focusing on the production history of the play between 1741 and 1817, discuss the main reasons that the leading actors and just as importantly, the leading actresses - of the age felt drawn to revive and reinterpret The Winter s Tale for their own age. To what extent did they find the play an apt vehicle for conveying Shakespeare s genius and their own - to audiences in their own time? To what extent did they continue to find the original play and its characters difficult or problematic, forcing them to cut, adapt, rearrange or reinterpret The Winter s Tale for late 18 th, and early 19 th century audiences? Group Four March 12th Charles Kean, Ellen Tree Kean ( ), Ellen Terry ( ) Harley-Granville-Barker ( ), Winthrop Ames ( ): Reinterpreting the pastoral ideal in the wake of the Industrial Revolution: Both David Garrick and Sarah Kemble Siddons ended their careers in a society quite different from the one in which they had made their debuts. The Industrial Revolution undoubtedly brought changes, especially in publishing and transportation, which played their role in making Siddons a star of quite a different magnitude than her Restoration and early 18th century counterparts. However, it also brought in changes in audience, theatre technology and acting that made the Kembles more formal style of neo-classical acting and production seem dated by Charles Kean s 1856 production of the Winter s Tale starring his wife, Ellen Tree Kean as Hermione and debuting 8 year-old Ellen Terry as Mamilius struck a new standard for historical accuracy, realistic detail and co-ordination in scene design that was to help set the trend for increasingly lavish, antiquarian productions of Shakespeare in the Victorian era. Yet ironically, even as the appearance of the pastoral world was being rendered on-stage with ever-increasing verisimilitude, the actual rural world it was modeled on was rapidly disappearing into the cauldron of urbanization and industrialization going on outside the theatre. Once again, the meta-theatrical world began to beckon. With Winthrop Ames 1910 production of the play in New York and Harley Granville-Barker s in London in 1912 scene design moved sharply away from spectacular realism towards a more intimate, ensemble form of Elizabethan staging with symbolic or impressionistic elements. This, in turn, helped facilitate the use of production scripts that were more true to the original text and made far fewer cuts, modifications and changes than ever before. Real shepherdesses were also becoming increasingly scarce. If the Industrial Revolution heralded the arrival of the city or town-based working man, it also heralded the creation of the working woman as a constant and growing presence in the towns, cities and theatres in both the Old and New World. Even by 1856, Ellen Tree Kean had traveled further abroad in pursuit of her career than Siddons ever had. Ellen Terry may have started her professional stage life with the same 1856 Kean production and returned to Winter s Tale in 1906 to play Hermione as way of celebrating 50 years in the theatre. However, those 50 years marked a far different life and career in the theatre, and a far different balance between the demands of private and public life than had been experienced by Andreini in the 16 th century, Siddons and Pritchard in the 18 th and Ellen Tree Kean in the early 19th. Discuss the extent to which the Industrial Revolution - for better and for worse- - transformed the role of the actress as both a woman and a professional between , with particular reference to the lives, careers and times of Ellen Tree Kean and Ellen Terry. Also discuss the levels of irony and complexity implicit in reinterpreting the Winter s Tale onstage for an audience for an urban, industrialized age.

7 Critiques For guidelines on length and style see The Critique 1. The Conversion of Thais (Hrotsvitha) January 27 rd Hrotsvitha, while admiring the beautiful language and craft of Terence s plays, disliked their hedonism, sexual licentiousness, and simplistic attitude towards women. Some critics have claimed that Hrotsvitha, whether consciously or not, has simply remade Thais into another tragic victim of a male patriarchy that continues to exploit woman s bodies in a different way. Yet Hrotsvitha herself claimed that her plays, as shaped by a radically new and transformative understanding of the universe, were intended to redefine both comedy and women alike in liberating new ways undreamt of by the male classical comic writers. Discuss the extent to which she has succeeded in this aim within the context of her times. 2. The Play of the Virtues (Hildegard of Bingen) January 29th th Like many later male playwrights of the Medieval tradition, Hildegard expresses much of what she perceives as the deepest and most profound truths of the world in allegorical or symbolic form. However, Hildegard who was famous as a mystic and visionary in her own time, is unusual in portraying the human soul as an aspiring female character. Reviewing Hildegard s own life and career, discuss the Play of the Virtues not only as a reworking of Plato to the service of Christianity, but that of the intelligent, enlightened woman finding her way through a fallen world. 4. The Rover (Behn) February 24 th In her own life and career, Behn insisted on having much the same scope for thought, adventure and action in the bustling Restoration world as her male counterparts. To what extent does Hellena, like Behn, successfully insist on having the same rights to walk at large and determine her own self and destiny in the world according to her own actions and choices as the male rovers in the play. To what extent, judging by the other male-female relationships in the play, do Hellena s options nonetheless remain more restricted and conventional than those of the typical male Restoration hero, or even Behn herself? 5. The Search After Happiness: A Pastoral Drama (More) March 24 th More was intensely interested in the proper education of the young and of young women in particular. In most pastoral dramas, the destiny of the young woman is intricately tied to that of a young man seeking a true marriage of souls, minds and bodies with the Beloved. In determining their own path to maturity out of the pastoral realm of childhood, what dangers must the young women avoid and what paths must they are ultimately pursue to best ensure their own success in the search after happiness? 6. Orra (Baillie) March 31 To what extent does Orra s madness successfully connect her to the tradition of giant male soul-spirits, like Lear, Macbeth, Hamlet or Othello, whose bursts of temporary madness speak of depths of human sensibility and passion running beneath the rational surface of words and custom? To what extent does her tragedy echo that of other women characters like Lady Macbeth or Ophelia, whose collapse suggests a weaker female mind or body less suited to the rigors of public life, and therefore in need of constant male guidance and protection. Has Baillie succeeded in creating a Romantic drama whose complex protagonist is destroyed by surging psychological forces she cannot control despite her greatness of mind and spirit - or has Baillie created a melodrama where a helpless, virtuous female victim relies on a strong male character for rescue. Or does the play fit into a mode of its own?

8 The Poster or Programme note text The poster or programme note text should not be simply a summary of the presentation, but an adaptation of it for a general reading public. For specifics of style check the MLA Handbook for Writers of Research Papers (3rd edition), or the Department of English Requirements for Essays. 50% of the grade is assigned for Content (breadth of ideas, depth of treatment, astuteness of analysis, accuracy and effective use of substantiating evidence.) 40% for style (coherence and organization, clarity of expression, spelling and grammar, proper documenting and referencing of sources) and 10% for overall effect. Illustrations or visuals, while welcome, should be kept to a minimum because of budget and copyright restraints. (Black and white photocopying of material in public domain). The text should not exceed words in length and is due on the dates listed above. Because this will be appearing before the public, be prepared to revise the text significantly at least once in response to editorial comments and to make minor revisions after that. The texts will be returned at after the production has closed. Materials not completed by March 17 th WILL NOT BE ACCEPTED EXCEPT IN THE CASE OF A DOCUMENTED ILLNESS OR DEATH IN THE FAMILY. The final draft will include the accompanying research notes and the complete, annotated bibliography. The Critique The critique should serve as a considered response to the material you are reading for class. It is meant to (a) clarify and focus your own thinking about the material and (b) help initiate class discussion. It should about words long and not exceed one page 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 critique to appear even you can't. Things you may want to comment on: (1) how the reading illuminates or clarifies for you certain historical, literary or social themes and concerns we have raised in class. (2) where you find interesting comparisons or contrasts between what you see here and what you have discovered in other of your areas of study or experience. (3) how this reading sheds a new light on other literary material we have studied in the class. (4) something about the reading that particularly excited or interested you and you would like to share with others. (5) something that particularly intrigued or puzzled you and you would like to know more about (6) something that particularly bothered you or that you disagreed with, and would like to see addressed by the class as a group. At its best, it should read as an informal but short personal essay that develops your idea, 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 critique to be clear, neat and legible, and will be paying close attention to how well you express, develop and argue your thoughts in writing.

9 Guidelines for Group Presentations 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.

10 - creating an annotated bibliography on the subject so that others can pursue the topic further on their own Sample schedule Time Frame 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 seminar 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 2 days Arrange to have any handouts given to the instructor if you need them run off for the seminar. Finalize any changes to a-v arrangements Seminar Preliminary bibliography returned. All seminar and research materials should be submitted on the designated date. 1 st draft of essay or notes due 1 week 2 nd draft of essay with fuller bibliography should be submitted. 2 week Final draft of essay. Seminar materials and completed bibliographies due 3 week Written group critique with letter grade. Oral interview with every group member for wrap-up and assessment. Research materials returned

11 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 Group Presentation 25% 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 5% It is expected that students will ordinarily be responsible for handling a particular area of research in the bibliography, though there may be some overlap with other students bibliographies if sources have been shared. Students will ordinarily be graded individually on their bibliographies, though it is possible to have the entire project bibliography graded as a group mark, if 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. Project bibliographies based solely on websites or containing less than seven 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

12 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. 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.

13 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 Individual Evaluation: Written work (15% of term mark, includes bibliography) The individual student is required to submit a ( word) 5-6 page TYPED essay based on his/her own area of research or analysis in the project. See note on The Poster or Programme note text Responsibilities of the Instructor: Project Facilitation: - to provide a general overview of project, including outcomes and expectations - be in attendance during scheduled classes to help all groups on an informal basis - to provide additional guidance and direction as necessary to individual members and the group as a whole. - will meet once a week with individual group leaders to check on the progress of the group. One week before the presentation, the group should meet with me. At that time, the group should also submit a bibliography of research materials compiled to date, any AV requests, and arrange for handout copying - will meet with members individually within two weeks of the final written materials being submitted and give both an oral and written assessment of project and term work. All written materials should be in a week after the presentation.) - will arrange to have the summaries and bibliographies run off for study purposes prior to the final exam, provided these have been submitted 2 days prior to the seminar.

14 Brockett Readings Section Titles Women and theatre The Classical Period The Greeks Theatre and Drama in Ancient Greece The Hellenistic Theatre Tragedy Theatre and Drama in Ancient Greece The Origin of Tragedy The City Dionysia in the Sixth Century Tragedy in the Fifth Century Play Selection and Financing Actors and Acting The Chorus Music and Dance Costumes and masks 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 The Roman and Byzantine Theatre The Roman Theatre Greek Mimes The Roman Theatre Etruscan Antecedents The Roman Context Roman Festivals Drama Under Romans Other Entertainments Productions Arrangements Actors and Acting Masks and Costumes Music The Decline of the Theatre in Rome Theatre in the Eastern Empire, Byzantium Theatre in the Eastern Empire, Byzantium The Byzantine Theatre The Rise of Islam Looking at Theatre History

15 India Sanskrit Drama Sanskrit Performance China The Development of Chinese Literary Drama Beijing Opera Japan Noh Theatre Bunraku Kabuki Looking at Theatre History 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 Music Audiences and Auditoriums Secular Dramatic Forms Farce The Morality Play Tournaments, Mummings, and Disguisings Royal Entries and Street Pageants The End of Medieval Drama Looking at Theatre History Spanish Theatre to 1700 The Religious Drama Secular Drama Early Professional Theatre Lope de Vega and His Contemporaries Calderón and his Contemporaries Actors and Acting Theatre in the Americas Looking at Theatre History The Theatre of Asia The Birth of the European Theatre The Medieval Theatre European Theatre in the Middle Ages The Renaissance Spanish Theatre to 1700

16 Italian Theatre to 1700 Renaissance Drama Mannerism and the Beginnings of the Baroque The Neoclassical Ideal Intermezzi and Opera Music and Dance The Festival Context Stage Lighting Commedia dell arte The Decline of Italy Looking at Theatre History The Restoration Theatrical Activity The Reestablishment of the Theatre Acting Companies English English Drama Government Regulation of the Theatre Italian Theatre to 1700 The Triumph of the Neo-Classical Ideal The 18 th Century The Enlightenment in England English Drama The Playwright Financial Policies Actors and Acting Audiences and Performances Restoration and 18 th Century England English Theatre to 1800 The 18 th Century - The Enlightenment in France and Germany French Drama of the Eighteenth Century Goethe, Schiller and Weimar Classicism Revolt and Revolution Romanticism and Early Realism The Romantics Continental European Theatre in the Early Nineteenth Century Continental European Theatre in the Early Nineteenth Century Theoretical Foundations of Romanticism Romantic Drama in Germany Postromantic German-Language Drama The French Theatre French Drama to the 1850s Directing and Acting in France to the 1850s Looking at Theatre History

17 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 America The Provincial Theatre Theatre of Colonial North America Theatre in North America The Expanding American Theatre Theatrical Conditions in the United States and Canada Looking at Theatre History

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