1) COURSE FOUNDATION:

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1 CARRERA NOMBRE DE LA ASIGNATURA PEDAGOGÍA BÁSICA DRAMA CÓDIGO PED 5822 NRC 1355 UBICACIÓN EN LOS SEMESTRES HORARIO NINTH SEMESTER (43 HOURS) MONDAY ( ) WEDNESDAY ( ) AÑO EN CURSO 2012 PROFESOR PAULA BALDWIN LIND 1) COURSE FOUNDATION: Based on the notion of art as mimesis or imitation, this course will offer future English teachers the opportunity of studying Drama as a literary genre from its origins in classical Greece until its modern development in the 20 th and 21 st centuries. Students will learn basic notions of Drama according to Aristotle (unity of action, of place, of time), as well as key elements of dramatic theory such as: theme, conflict, characterization, plot, climax, tragic hero, etc. The selected plays from Sophocles, medieval theatre, Shakespeare, Ibsen, and Beckett will enable students to know and distinguish the different dramatic movements, the most representative authors from each period, and the historical context where these originated. Reading and analysing Drama will help students develop critical skills, facility in problemsolving, and appreciation of aesthetic form. It will also make them aware of specific practical drama teaching methodologies that they can apply in elementary education. 2) GENERAL OBJECTIVES: Students will be able to: a. Broaden their understanding of Drama from a historical and literary perspective, thus widening their cultural background. b. Appreciate drama as a distinctive literary genre. c. Acknowledge the concept of mimesis as imitation of real human actions in Drama. d. Discuss, interpret and analyse certain universal literary themes present in Drama. e. Identify the main elements of classic, medieval, renaissance, and modern theatre. g. Integrate Drama with other curriculum areas in elementary and primary grades. h. Develop the pleasure of reading. 1

2 3) SPECIFIC OBJECTIVES: Students will be able to: a. Read and analyse the plays selected and become familiar with their authors and their historical context. b. Identify the structure of a play, its elements and main characteristics. c. Analyse the concept of tragic hero and its development. d. Become acquainted with Greek mythology and understand its role in Classical Drama. e. Identify the elements and structure of tragedy and comedy, as distinctive dramatic forms. f. Discuss and identify the elements of Shakespearean tragedy and comedy. g. Discuss and interpret modern drama. 4) CONTENTS: - Introduction to Drama and its main characteristics. - Representative function of literature according to Aristotle s Poetics. - Analysis of concepts such as mimesis, anagnorisis, unity of time, of action, tragic hero, etc. - The role of Greek mythology in classical Drama. - Origin and development of Greek Drama. Sophocles Oedipus the King and Antigone. - Drama s medieval influence. Brief reference to morality plays. - English Golden Age: Elizabethan theatre. Historical and literary antecedents. William Shakespeare s Romeo and Juliet and The Tempest. Shakespeare for kids. - Modern theatre: historical and literary antecedents. General characteristics. Concept of modern hero in Henrik Ibsen s A Doll s House and Samuel Beckett s Waiting for Godot. - Drama teaching methodologies. 5) TEACHING AND LEARNING METHODOLOGY: a. Class presentations. b. Seminar facilitation and classroom discussions. c. Critical reading of plays. d. Development of teaching strategies. e. Group projects and oral presentations. f. Independent supervised research. g. Analysis of films about some of the selected plays. 6) EVALUATION: Written Test 25% Essay 20% Oral presentation 15% Class seminar N 1 5% Class seminar N 2 5% Exam (final project) 30% Written test: It will be worth a percentage of 25% from the final mark of the course. In case of absence, students should send or bring a medical certificate within the next 48 hours the 2

3 day after the test was taken. They will have the right to give a test by the end of the semester that will include all the contents studied in the course. The date will be agreed with the teacher. Essay: Students will write one essay during the semester that will account for 20% of the final mark. Essays should be presented in printed form and following the formal aspects explained by the teacher. Failure to submit the essay on the established date will result in a 1,0. Students submit their drafts to the assistant teacher 2 weeks in advance, so that they receive some online feedback for final copy. If needed, the assistant teacher can also organize a short personal (or group) tutoring for MLA and academic format. Plagiarism will be sanctioned with a 1,0. This misbehaviour will also be informed to the Director of Studies who will follow the university s regulations with respect to this conduct. Oral presentation (15%): Students will present in pairs and will choose from a list of technological resources that can be used to teach Drama. Students must prepare a microteaching unit using the chosen resource. The idea is to link the resource with the contents and/or plays seen and studied in class. Resources: StoryKit/ Linoit/ Storybird/ Wikispaces/Google SketchUp/ Toon Doo/ Dipity/ Fodey/ Gloster/ Photopeach/ GoAnimate/ Blogspot. Class seminars: There will be two class seminars during the semester. Each of them will weight 5 % of the final mark (total of 10%). One seminar would take place in class, while the other might be online in the form of a blog. In-class seminar might be organized as a roundtable oral activity with students providing their opinions and perhaps thesis as the rest comments and argues from there on. A rubric for participation will be created for evaluation. If a student is not present the day of the seminar, he/she will have to write a report on the reading according to the instructions given by the teacher. Exam: Only the students who have got a 75% attendance to the course and a 3,0 or higher final mark will have the right to take the exam by the end the semester. The exam weighs a 30% of the course, whereas the rest of the marks add up to a total of 70%. The exam will consist of a Creative Project. Students will be given instructions in advance so they can think of a project to work on. Tutoring is also offered for this if needed. In the day of the exam, students prepare an oral presentation so as to explain the project to the teacher and the class. (20% project and 10% presentation). This could include a variety of ideas: a journal, a log, a song, a role-play, a photo-book, etc. Because of the exam s format, exemption will not be possible. 7) BIBLIOGRAPHY: READING LIST: Anonymous (1995). Everyman and Other Miracle and Morality Plays. New York: Dover Publications, Aristotle (1996). Poetics. Translated with an introduction and notes by Malcolm Heath. London: Penguin Books. 3

4 Baldwin, P. and B. Fernández. (trans.), (2010). La tempestad. Santiago, Chile: Ed. Universitaria. Beckett, S. (1990). Waiting for Godot in Imaginative Literature: Selections from Twentieth- Century. Chicago: Encyclopedia Britannica. Burdett, L. (1990). The Tempest for Kids. Ontario: Firefly Books. Burdett, L. (1998). Romeo and Juliet for Kids. Ontario: Firefly Books. Cariola, J. (trans.), (1994). Romeo y Julieta. Madrid: Cátedra. Clarke, W. and W.A. Wright, eds. (1990). William Shakespeare: The Tempest in The Plays and Sonnets. Chicago: Encyclopedia Britannica. Ibsen, H. (1990). A Doll s House. Chicago: Encyclopedia Britannica. Shakespeare, W. (1980). Romeo and Juliet, ed. by Brian Gibbons. London: Methuen. Sophocles. (1994). Oedipus the King and Antigone. Oxford: Oxford University Press. 8) ADDITIONAL BIBLIOGRAPHY: Abrahams, M.H. and Greenblatt, Stephen (gral. eds.), (2000). The Norton Anthology of English Literature. 7 th edn. 7 vols. New York and London: Norton. Ackroyd, P. Shakespeare. (2006).The Biography. London: Vintage. Aliki. (1999). William Shakespeare and the Globe. New York: Harper Collins. Andrade Berisso, G. y M. L. Vial. (2009). Descubriendo a Shakespeare. Santiago: Andrés Bello. Barnes, J. (1995). The Cambridge Companion to Aristotle. Cambridge: Cambridge UP. Bloom, H. (1998). Shakespeare: The Invention of the Human. New York: Riverside Books. Cox, J. D. and D. S. Kastan (eds.), (1997). A New History of Early English Drama. New York: Columbia University Press. D Aulaire, I. and R.P.D Aulaire. (2003). Book of Greek Myths. New York: Delacorte Press. Dillon, J. (2007). The Cambridge Introduction to Shakespeare s Tragedies. Cambridge: Cambridge University Press. Dutton, R. and J.E. Howard (2003). A Companion to Shakespeare s Works: The Tragedies, vol.1. Oxford: Blackwell Publishing. 4

5 Easterling, P.E. (ed.), (1997). The Cambridge Companion to Greek Tragedy. Cambridge: Cambridge UP. Cole, T (ed). (1960). Playwrights on Playwriting: From Ibsen to Ionesco. London: MacGibbon & Kee. Gibson, R. (1998). Teaching Shakespeare. Cambridge: Cambridge University Press. Gibson, R. (2000). Stepping into Shakespeare: Practical Ways of Teaching Shakespeare to Young Learners. Cambridge: Cambridge University Press. Harvey, P. (1987). The Oxford Companion to Classical Literature. Oxford: Oxford University Press. Jacobsen, J. (1964). The Testament of Samuel Beckett. New York: Hill and Wang. Lauter, P. (ed.), (1990). The Heath Anthology of American Literature, Vols. 1 and 2. Lexington, Mass.: D.C. Heath and Company. Nutt, J. (2002). An Introduction to Shakespeare s Late Plays. Hampshire: Palgrave. O Brien, P. (1993). Shakespeare Set Free: Teaching Romeo and Juliet, Macbeth, A Midsummer s Night Dream. New York: Washington Square Press. Pollard, A.W. (ed.), (1950). English Miracle Plays, Moralities, and Interludes: Specimens of the Pre-Elizabethan Drama. Oxford: Clarendon Press. Russell Brown, J. (ed.), (1995). The Oxford Illustrated History of Theatre. Oxford: Oxford University Press. Sanders, A. (2000). The Short Oxford History of English Literature. Oxford: Oxford University Press Tillyard, E.M.W. (1983). Shakespeare s Last Plays. London: Athlone Press. Whaley, H. P. (1976) A Handbook of Classical Drama. CA: Stanford University Press. Wickham, G. (1974). The Medieval Theatre. London: Weindenfeld and Nicolson. Williams, M. (1992). Greek Myths for Young Children. Cambridge, Mass.: Candlewick Press. Zimmermann, B. (1993). Greek Tragedy: An Introduction. Trans.Thomas Marier. Baltimore and London: The John Hopkins University Press. FILMS (selections): The Tempest, selection of passages from BBC films (1980); Peter Greenaway (1991); Helen Mirren (2010). Romeo and Juliet, selection from RSC performances. 5

6 9) TIMETABLE: MARCH Week 5 APRIL Week 1 Week 5 DATE M 5 (1) W 7 (2) M 12 (1) W 14 (2) M 19 (1) W 21 (2) M 26 (1) W 28 (2) M 2 (1) W 4 (2) M 9 (1) W 11 (2) M 16 (1) W 18 (2) M 23 (1) W 25 (2) L 30 (1) Class programme and readings: General introduction. Why teach drama? Drama as literary genre. I. Origins of Drama: The Greeks: Characteristics of Greek tragedy. Structure of Greek Theatre: characters, stage, action, costumes, and dramatic conventions. Dionysus Festival. Major Greek playwrights. Introduction to Greek mythology. Greek mythology. The Oracle (class methodology). Introduction to Aristotle s Poetics. Aristotle s notion of mimesis or imitation. Literature s representative function. Aristotle s Poetics. Elements of drama. The tragic hero. Aristotle s Poetics (Handout). Sophocles: Introduction to (Oedipus the King and Antigone) Sophocles: Oedipus the King and Antigone. Class work. Class Seminar N 1: Sophocles (Oedipus vs Antigone: class debate). II. Medieval Plays: Characteristics and purpose. Miracle, Morality and Mystery Plays. Medieval worldview. Text Analysis: Everyman. Text Analysis: Everyman. Oral Presentations (3 groups): Technological Resources. III. Elizabethan Golden Age: Shakespearean Drama: Historical Context and worldview. Elizabethan English. The Globe: Introduction to Shakespeare s plays and its genres. Renaissance tragic hero. Introduction to The Tempest (sources, characters, plot). The Tempest (dramatic conflicts) The Tempest (text analysis, film versions (selections). HOLIDAY (1 ST of May) 6

7 MAY Week 1 Week 5 JUNE Week 1 W 2 (2) M 7 (1) W 9 (2) M 14 (1) W 16 (2) M 21 (1) W 23 (2) M 28 (1) W 30 (2) M 4 (1) W 6 (2) M 11 (1) W 13 (2) F 15 M 18 Oral Presentations (3 groups): Technological Resources. Introduction to Romeo and Juliet (characters, themes). Romeo and Juliet (text analysis). Romeo and Juliet (dramatic conflicts). Romeo and Juliet for Kids. MID TERM TEST IV. Modern Drama: Characteristics of modern drama, modern hero and worldview. Introduction to Henrik Ibsen s A Doll s House. HOLIDAY A Doll s House (Man in modern times. Character development) Class Seminar 2: The whereabouts of the modern hero ; challenges and conflicts. Introduction to Samuel Beckett s Waiting for Godot. Theatre of the absurd. Essay (Submit for feedback - voluntary) Waiting for Godot: Nonsense or existentialism? Beckett: Language and meaning. SUBMIT ESSAY GENERAL CONCLUSIONS. Instructions and tutoring for final project. END OF CLASSES Tutoring for Final Project (voluntary) 7