Curriculum Vitae. Jure Gantar

Transcription

1 Curriculum Vitae Jure Gantar Address 283 Moirs Mill Rd Bedford, NS, B4A 3Y3 (902) Education 1992 Ph.D. in Drama, University of Toronto, Canada (Ph.D. thesis: Dramaturgical Strategies for Producing Laughter) 1989 M.A. in Dramaturgy, University of Ljubljana, Slovenia (M.A. thesis: Ritualna struktura komedije [The Ritual Structure of Comedy] ) 1987 B.A. in Dramaturgy, University of Ljubljana, Slovenia (B.A. thesis: Oscar Wilde in smrt komedije [Oscar Wilde and the Death of Comedy] ) Awards 2004 Aid to Scholarly Publications Programme grant (for manuscript The Pleasure of Fools), Canadian Federation for the Humanities and Social Sciences 1997 Essay Prize, Modern Drama (for the best essay by a scholar new to the profession) University of Toronto, Ontario Graduate Scholarship University of Toronto, Connaught Scholarship 1989 Radio Ljubljana Award (for radio-play) 1988 Problemi Award (for essay on Franz Kafka) 1986 University of Ljubljana, France Prešeren Student Award (for a paper Zgodovinski horizont komičnega v rimski komediji [The Historical Horizon of the Comic in Roman Comedy] ) 1982 Alliance Française Award (for essay in French) Employment Professor (tenured), Department of Theatre, Dalhousie University, Halifax Associate Fellow, University of King s College, Halifax Associate Professor (tenured), Department of Theatre, Dalhousie University, Halifax Assistant Professor (tenure-track), Department of Theatre, Dalhousie University, Halifax Assistant Professor (limited-term), Department of Theatre, Dalhousie University, Halifax Lecturer (limited-term appointment), Academy of Theatre, Radio, Film, and

2 Television, University of Ljubljana Administrative and Professional Service Department Member, Student Matters Committee March-May 2009 Student Academic Advisor 2008 Member, Hiring Committee for a Tenure-Track Position in Theatre and Film Studies 2008 Chair, Hiring Committee for a Limited-Term Position in Theatre Studies 2008 Member, Hiring Committee for an Instructor Position in Costume Studies Member, Hiring Committee for a Tenure-Track Position in Film Studies Chair, Hiring Committee for a Tenure-Track Position in Acting Member, Awards Committee August 2007 Acting Chair 2007 Member, Hiring Committee for a Limited-Term Position in Theatre and Film Studies Chair, Hiring Committee for a Tenure-Track Position in Acting Ex-officio Chair of all Departmental Hiring Committees Chair 2000 Member, Tenure Committee Member, Hiring Committee for a Tenure-Track Position in Theatre Studies Member, Hiring Committee for a Tenure-Track Position in Costume Studies Student Academic Advisor, Department of Theatre 1998 Member, Hiring Committee for a Tenure-Track Position in Voice and Speech August 1997 Acting Chair Chair, Play Selection Committee Member, Play Selection Committee Member, Advertising Committee 1995 Member, Tenure Committee June 1994 Acting Chair 1993 Member, Play Selection Committee Student Academic Advisor, Department of Theatre Member, Advertising Committee Faculty Associate Dean, Faculty of Arts and Social Sciences Chair, Hiring Committee for the Tier 2 CRC in European Studies, Faculty of Arts and Social Sciences Academic Integrity Officer, Faculty of Arts and Social Sciences

3 Presiding Dean, College of Sustainability Acting Dean, Faculty of Arts and Social Sciences Member (Faculty of Arts and Social Sciences), Writing-Across-the Curriculum Committee, College of Arts and Social Sciences Member, Music Department Unit Review, Faculty of Arts and Social Sciences Member, Academic Development Committee, Faculty of Arts and Social Sciences Member, Nominating Committee, Faculty Associate Dean, Faculty of Arts and Social Sciences Member, Professional Development Committee, Faculty of Arts and Social Sciences 2001 Member, Task Force on Identity and Curriculum, Faculty of Arts and Social Sciences Member, Academic Development Committee, Faculty of Arts and Social Sciences Chair, Academic Development Committee, Faculty of Arts and Social Sciences Member, Joint Council of the Contemporary Studies Programme, Dalhousie University/University of King s College 1997 Member, Unit Review Committee for Russian Studies, Faculty of Arts and Social Sciences Member, Academic Development Committee, Faculty of Arts and Social Sciences University 2010 Chair, Committee on Master of Journalism proposal, Faculty of Graduate Studies Member, Committee for Review of Graduate Program in Nursing, Senate, Dalhousie University Member, Classroom Planning Committee, Dalhousie University Co-Chair, President s Advisory Council on Sustainability, Dalhousie University Member, Steering Committee for Undergraduate Health Project, Dalhousie University Member, Steering Committee for Design and Innovation, Dalhousie University Member, Classroom Planning Committee, Dalhousie University Member (Faculty of Arts and Social Sciences), Senate, Dalhousie University 2001 Member, Student Discipline Committee, University of King s College Member, Killam Lecture Committee, Dalhousie University Member (Faculty of Arts and Social Sciences), Senate, Dalhousie University Editorial boards Member, Amifteater editorial board Member, Gledališki list Drama SNG Maribor editorial board Member, PhaenEx editorial board

4 Refereeing 2010 External Referee, Promotion to Full Professor, University of Alberta (Piet Defraeye) 2010 External Reviewer, Department of English and Theatre, Acadia University External Referee, Promotion to Associate Professor, University of Ljubljana 2009 Expert Assessor, BA in Dramaturgy and Performing Arts, Academy of Theatre, Radio, Film, and Television, University of Ljubljana 2008 Expert Assessor, BA in Performance Studies and Creative Writing, Faculty of Humanities Koper, University of Primorska 2008 Referee, Amfiteater (S. E. Wilmer) 2008 External Reviewer, Theatre Studies program, University of Prince Edward Island 2006 Referee, SSHRC Standard Research Grant Application (Anna Migliarisi) 2004 External Referee, Tenure and Promotion to Associate Professor, University of Waterloo (Gerhard Hauck) 2000 External Referee, Tenure and Promotion to Associate Professor, University of Victoria (Jennifer Wise) 2003 Referee, EPTC/TCEP Conference (Donia Mounsef) 1999 Referee, Canada Council Killam Research Fellowship Application (Serge Ouaknine) 1998 Referee, Canadian Slavonic Papers (Jacek Kozak) 1998 External Referee, Tenure, University of King s College (Neil Robertson)

5 Publications Books 2007 Humar, Marjeta et al., eds. Gledališki terminološki slovar [The Terminological Dictionary of Theatre]. Trans. Jure Gantar and Rastko Rafael Kozlevčar. Ljubljana: Založba ZRC. 271 p The Pleasure of Fools: Essays in the Ethics of Laughter. Montreal: McGill- Queen s University Press. 193 p Dramaturgija in smeh [Dramaturgy and Laughter]. Ljubljana: Knjižnica Mestnega gledališča ljubljanskega. 167 p. Refereed articles and chapters 2010 Darwin in dramska teorija [Darwin and Dramatic Theory]. Amfiteater < Concept Lite: An Analysis of Transposition as a Staging Strategy. Directing and Authorship in Western Drama. Ed. Anna Migliarisi. Intro. Don B. Wilmeth. Ottawa: Legas From Invention to Convention: A Critical View on the Evolution of the Aside in French Neoclassical Drama. Style The Case of the Falling Man. A New Reading of Bergson s Le Rire. Mosaic 32: Postmodern Comedy. Tautology or Pleonasm? Studies in Humanities Catching the Wind in a Net. The Shortcomings of Existing Methods for the Analysis of Performance. Modern Drama Theatrical Laughter and the Concept of Cryptic Noise. Recherches sémiotiques/semiotic Inquiry Znanstvena metoda raziskovanja [The Scholarly Method of Research]. Sodobnost 36: Nepopolnosti [Imperfections]. Problemi Literatura With Barbara Kenda. Franz Kafka in Jože Plečnik: rahlo neresen esej o resnih zadevah [Franz Kafka and Jože Plečnik: A Slightly Trivial Essay on Serious Matters]. Problemi Literatura Zgodovinski horizont komičnega v rimski komediji. Drugi del. [The Historical Horizon of the Comic in Roman Comedy. Part Two]. Maske Zgodovinski horizont komičnega v rimski komediji. Prvi del [The Historical Horizon of the Comic in Roman Comedy. Part One]. Maske. Invited articles and chapters 2010 Ptica selivka [The Migratory Bird]. Gledališki list Drama SNG Maribor

6 2010 Molièrovi italijanski posli [Molière s Italian Job]. Gledališki list MGL Prevajalci in izdajalci [Translators and Traitors]. Gledališki list MGL Odrski šund [The Stage Pulp]. Gledališki list MGL Iz Berlina na Broadway [From Berlin to Broadway]. Gledališki list MGL Rojstvo nacizma iz duha malomeščanstva [The Birth of Nazism from the Spirit of Petite Bourgeoisie]. Gledališki list Drama SNG Maribor Visoka maša potrošniške družbe [The High Mass of the Consumer Society]. Gledališki list MGL Dvajset let pozneje [Twenty Years After]. Gledališki list Drama SNG Maribor Ključ do dramatikovega srca [A Key to the Playwright s Heart]. Gledališki list MGL Osli in oslarije [Asinaria and the Asinine]. Gledališki list MGL Dramaturgija gledališča no [The Dramaturgy of Noh Theatre]. Gledališki list Drama SNG Maribor Z obale Utopije v Arkadijo [From the Coast of Utopia to Arcadia]. Gledališki list MGL Razsodnost in razuzdanost [Sense and Sensuality]. Gledališki list Drama SNG Maribor Onstran realizma [Beyond Realism]. Gledališki list MGL Dramatizacija vsakdanjega življenja [Dramatization of Everyday Life]. Gledališki list MGL Cinična resnica in blagoslovljena laž [A Cynical Truth and a Blessed Lie]. Gledališki list Drama SNG Maribor Retorični obrat [The Rhetorical Turn]. Gledališki list MGL Zvestoba izvirniku [Faithfulness to the Original]. Gledališki list MGL Metafizične burke [Metaphysical Farces]. Gledališki list Drama SNG Maribor Ives, David. Minirana vrtnica [The Exploding Rose]. Trans. Jure Gantar. Gledališki list Drama SNG Maribor Odrska topografija Lepe Vide [The Stage Topography of The Beautiful Vida]. Gledališki list Drama SNG Maribor Nepričakovani uspeh praizvedbe Molièrovega Ljudomrznika [The Unexpected Success of the World Premiere of Molière s The Misanthrope]. Gledališki list MGL Moull, Zachary. Besede, besede, besede [Words, Words, Words]. Trans. Jure Gantar. Gledališki list Drama SNG Maribor O Hanley, Erin. Položaj francoskega meščanstva v Molièrovem času [The Position of the French Bourgeoisie in Molière s Time]. Trans. Jure Gantar. Gledališki list Drama SNG Maribor Ionesco in Descartes [Ionesco and Descartes]. Gledališki list Drama SNG Maribor

7 2007 Komedija in država [Comedy and the State]. Gledališki list Drama SNG Maribor Junaštvo gospoda Jourdaina [The Heroism of Monsieur Jourdain]. Gledališki list Drama SNG Maribor Vpliv gama žarkov na razvoj postmoderne dramaturgije [The Effect of Gamma Rays on the Evolution of Postmodern Dramaturgy]. Gledališki list Drama SNG Maribor Testimonial. Zakaj? AGRFT 60: zbornik ob šestdesetletnici [Why? AGRFT 60: A Collection at Sixtieth Anniversary ] Eds. Barbara Sušec Michieli, Sebastijan Horvat, Igor Košir. Ljubljana: Akademija za gledališče, radio, film in televizijo Politika humorja [The Politics of Humour]. Emzin Črni humor in psihopatologija malomeščanskega vsakdana [Black Humour and the Psychopathology of the Petit-Bourgeois Everyday]. Gledališki list MGL Aristofan, erotika in smeh [Aristophanes, Erotics, and Laughter]. Maska Med Brechtom in Pirandellom: mariborska Drama in moderno gledališče [Between Brecht and Pirandello: The Maribor Drama and Modern Theatre]. Izročila zgodovine Rpt. of Med Brechtom in Pirandellom [Between Brecht and Pirandello]. Gledališki list Drama SNG Maribor (1986) Nekaj izhodišč za preučevanje romantične drame [Foundations for the Study of Romantic Drama]. Izročila zgodovine Rpt. of Romantično gledališče [Romantic Theatre]. Gledališki list Drama SNG Maribor (1987) Feydeau in razvoj motiva dvojčkov [Feydeau and the Development of the Motif of Twins]. Gledališki list Drama SNG Ljubljana Creativity and Wit. Creativity and Discovery: Conference Proceedings. Cornerbrook: Memorial University of Newfoundland, Položaj bulvarke v repertoarju sodobnega slovenskega gledališča [The Status of Vaudeville in the Contemporary Slovene Theatre.] Gledališki list MGL Atomska dramaturgija Vilija Ravnjaka [Atomic Dramaturgy of Vili Ravnjak]. Umetnost igre. Štirje eseji [The Art of Playing. Four Essays]. By Vili Ravnjak. Ljubljana: Zveza kulturnih organizacij Slovenije Pred odprtimi vrati [In Front of the Open Door]. Pot v Rim. Aneks [The Passage to Rome. The Annexe]. By Vili Ravnjak. Ljubljana: Zveza kulturnih organizacij Slovenije Hristić, Jovan. Teoretična vprašanja, praktični odgovori [Theoretical Questions, Practical Answers]. Trans. Jure Gantar. Sodobnost 37.8/ Zakaj ne verjamem v sodobno slovensko gledališče [Why I Do Not Believe in Contemporary Slovene Theatre]. Sodobnost Vlada gospe ministrice [The Government of the First Lady]. Gledališki list MGL Zakaj verjamem v slovensko gledališče [Why I Do Believe in Slovene Theatre]. Gledališki list EG Glej

8 Kritika brez predstave [Criticism without Performances]. Maske 4.10/ Trans. of Kritika bez predstave [Criticism without Performances]. Kritika i budućnost pozorišta. Novi Sad: Biblioteka matice srpske, Criticism without Performances. La critique et l avenir du théâtre. Novi Sad: Biblioteka matice srpske Trans. of Kritika bez predstave [Criticism without Performances]. Kritika i budućnost pozorišta. Novi Sad: Biblioteka matice srpske, Kritika bez predstave [Criticism without Performances]. Kritika i budućnost pozorišta. Novi Sad: Biblioteka matice srpske Slovenska komedija je tragedija slovenske literature [The Slovene Comedy is a Tragedy of Slovene Literature]. Gledališki list PDG Nova Gorica Charney, Maurice. Kaj je batler videl v Kaj je videl batler? [What Did the Butler See in What the Butler Saw?] Trans. Jure Gantar. Gledališki list PDG Nova Gorica Ortonov konec [Orton s End]. Trans. Jure Gantar. Gledališki list PDG Nova Gorica Umetnost in umetelnost [Art and Craft]. Gledališki list Drama SNG Maribor Marguerite Duras se igra [Marguerite Duras is Playing]. Gledališki list EG Glej Popartistična burka [A Pop-art Farce]. Gledališki list PDG Nova Gorica Krasni nori svet [The Brave Mad World]. Gledališki list PDG Nova Gorica Kompozicijske značilnosti dramske kronike [The Structural Characteristics of Chronicle Play]. Gledališki list Drama SNG Maribor Naši gostje: pogovor s Sandijem Krošlom [Our Guests: A Conversation with Sandi Krošl]. Gledališki list Drama SNG Maribor Cesarjeva nova krojacnica [The Emperor's New Tailorshop]. Gledališki list SMG Mit in sodobno gledališče [Myth and Contemporary Theatre]. Maske 3.8/ Hristić, Jovan. Antigona [Antigone]. Trans. Jure Gantar. Gledališki list Drama SNG Ljubljana O zveličanju gledalčeve duše [On the Redemption of the Spectator s Soul]. Gledališki list PDG Nova Gorica Stava [The Bet]. Gledališki list Drama SNG Maribor Petdeset let kasneje [Fifty Years Later]. Gledališki list Drama SNG Maribor Kdor se zadnji smeje, ne razume vica [He Who Laughs Last Doesn't Understand the Joke]. Gledališki list Drama SNG Maribor Romantično gledališče [Romantic Theatre]. Gledališki list Drama SNG Maribor Če bi [If]. Gledališki list Drama SNG Maribor Med Brechtom in Pirandellom [Between Brecht and Pirandello]. Gledališki list Drama SNG Maribor Gledališka izhodišča trojnega projetka [Theatrical Premises of the Triple Project]. Gledališki list Drama SNG Maribor Komedija, ljubezen in hrana [Comedy, Love and Food]. Gledališki list Drama SNG Maribor.

9 Book reviews 2002 Review of The Death of Comedy. By Erich Segal. Dalhousie Review Review of Tragedy and Comedy: A Systematic Study and a Critique of Hegel. By Mark William Roche. Modern Drama Review of Theatre of Chaos: Beyond Absurdism, Into Orderly Disorder. By William W. Demastes. Modern Drama Review of Playtexts: Ludics in Contemporary Literature. By Warren Motte. Dalhousie Review Review of Comedy: The Mastery of Discourse. By Susan Purdie. Dalhousie Review Review of Drama and Intelligence. By Richard Courtney. University of Toronto Quarterly Gledališka poetika Drage Ahačič [Theatrical Poetics of Draga Ahačič]. Maske Jan Kott in hermenevtično gledališče [Jan Kott and Hermeneutical Theatre]. Maske. Conference papers 2007 The Phenomenological Nature of Lazzi. 6 th International Conference The World of Baroque Theatre. Český Krumlov, Czech Republic Komedija in država [Comedy and the State]. Komedija, država, družba: Simpozij ob 250. obletnici rojstva prvega slovenskega komediografa Antona Tomaža Linharta. Borštnikovo srečanje. Maribor, Slovenia A Poor-Man s Directorial Concept: An Analysis of Transposition as a Staging Strategy. Directing and Authorship in Western Drama: International Theatre Conference. Wolfville, Nova Scotia Laughter in Utopia: An Examination of the Role of Humour in a Liberated Society. International Society of Humor Studies Conference. Chicago, Illinois Reception of Molière s Comedies and the Ethics of Laughter. ACTR Conference/ Colloque de l ARTC. Halifax, Nova Scotia The Decorum of Cruelty in Sartre: A Response to Tortured Stages. EPTC/ TCEP Conference. Halifax, Nova Scotia Narrative Uncertainty as a Means of Dramatic Suspense: A Reading of Michael Frayn s Copenhagen. Performing Science in the Age of Uncertainty: A Symposium on Copenhagen, the Play. University of King s College. Halifax, Nova Scotia The Name of the Nose: On Ethics of Self-Deprecating Humour. International Society of Humor Studies Conference. Bertinoro, Italy Aristophanes Comic Dramaturgy and the Limitations of Theatrical Representation. Comedy and the Discourse of the Polis. Halifax, Nova Scotia Comic Theory in the Restoration. Purcell 300: A Purcell Symposium. Halifax, Nova Scotia Catching the Wind in a Net: The Shortcomings of Existing Methods for the Analysis of Performance. Why Theatre: Choices for the New Century. Toronto, Ontario.

10 1994 Dramaturgy and the Transferal of Comedy. The Voice of the Dramaturge. Atlanta, Georgia Creativity and Wit. Creativity and Discovery. Corner Brook, Newfoundland Nedolžno gledanje predstave [Innocent Viewing of a Performance]. Art and Children. Zagreb, Croatia Kritika i budućnost pozorista [Criticism and the Future of the Theatre]. Sterijino pozorje. Novi Sad, Serbia Mit in sodobno gledališče [Myth and Contemporary Theatre]. Borštnikovo srečanje. Maribor, Slovenia. Lectures 2010 Convocation Address. Faculty of Arts and Social Sciences, Dalhousie University. Halifax, Nova Scotia Bertolt Brecht: Mother Courage and Her Children. Foundation Year Programme. University of King s College. Halifax, Nova Scotia Ferdinand de Saussure: Course in General Linguistics. Foundation Year Programme. University of King s College. Halifax, Nova Scotia Meyerhold and Biomechanics. Contemporary Studies/History of Science and Technology. University of King s College. Halifax, Nova Scotia Ferdinand de Saussure: Course in General Linguistics. Foundation Year Programme. University of King s College. Halifax, Nova Scotia A Book on Reading: Umberto Eco s novel The Name of the Rose. Series on Popular Aesthetics. University of King s College. Halifax, Nova Scotia Samuel Beckett s Krapp s Last Tape and Theodor Fontane s Effie Briest. King s Theatrical Society. University of King s College. Halifax, Nova Scotia Izbrana predavanja iz dramaturgije [Selected Lectures in Dramaturgy]. Akademija za gledališče, radio, film in televizijo. University of Ljubljana. Ljubljana, Slovenia Modernity and Ibsen s A Doll s House. Foundation Year Programme. University of King s College. Halifax, Nova Scotia Ionesco and the Modern. King s Theatrical Society. University of King s College. Halifax, Nova Scotia Russian Revolutionary Experimentalism: Maxim Gorky s The Lower Depths. Foundation Year Programme. University of King s College. Halifax, Nova Scotia Baroque Theatre. Foundation Year Programme. University of King s College. Halifax, Nova Scotia Elizabetinska dramska teorija: tri predavanja [Elizabethan Dramatic Theory: Three Lectures]. Akademija za gledališče, radio, film in televizijo. University of Ljubljana. Ljubljana, Slovenia Uporaba humorja pri pouku tujega jezika [The Use of Humour in the Teaching of a Second Language]. Celoletna sola za slovenščino kot tuji/drugi jezik. Faculty of Arts. University of Ljubljana. Ljubljana, Slovenia Performing Brecht. A Lecture for Irondale Theatre Ensemble. Halifax, Nova Scotia

11 1997 Postmodern Comedy: Tautology or Pleonasm? Contemporary Studies Society. University of King s College. Halifax, Nova Scotia. Interviews 2010 Strah pred smehom je strah pred različnostjo [A Fear of Laughter is a Fear of Difference]. Interview with Tamara Matevc. August. 6 March 2010 < Intervju čez lužo [An Interview across the Pond]. Interview with Zala Dobovšek. August. 9 September 2007 < index.php?id=12&tx_ttnews[tt_news]=290&chash=0129dc5f0a> Zdaj se še bedakom bojimo nasmejati, da jih ne bi užalili [We Are Now Even Afraid to Laugh at Fools in Case We Offend Them]. Nedelo 30 January: Interview. Information Morning. CBC Radio One. Halifax, Nova Scotia. 31 December Je komedija manjvredna dramska zvrst? [Is Comedy an Inferior Dramatic Genre? Interview with Marjana Ravnjak. Ars: Radio Slovenija, 3. program. Ljubljana, Slovenia.

12 Teaching Record Classes taught THEA Introduction to Theatre (1992/ /95: Nature of Theatre; 1995/ /07: A Survey of Dramatic Literature) The purpose of this class is twofold: first, to introduce students to the study of theatre through analysis of a range of plays related to the DalTheatre season; and second, to instruct students in the methodology of writing in the humanities. Students will learn about the theatrical production process and practice skills of script and performance analysis. Students will address specific problems within their papers and discuss questions on an individual basis in writing tutorials. This class fulfills the writing requirement of Dalhousie University and is a prerequisite for all Theatre majors. THEA Classical Theatre (before 2004/05: The History of the Theatre from its Origins to the Renaissance) This class gives students an opportunity to study dramatic literature, staging practices, and theoretical foundations of the early history of theatre. Specific topics covered include Greek, Roman, and medieval, as well as classical Indian and Japanese theatres. Although there is no formal prerequisite for the class, students should normally be in their second year of study. A background in theatre, history, and/or dramatic literature will be an advantage. THEA Early Modern Theatre (before 2004/5: The History of the Theatre from the Renaissance to the Twentieth Century) This class is in a sense the sequel to THEA , though that class is not a prerequisite. It aims to study the development of dramatic literature, staging practices, and criticism from the theatres of the Italian Renaissance and of Shakespeare to the final years of European neoclassicism. There is no formal prerequisite, but students should normally be in at least the second year of study. A background in history, theatre and/or dramatic literature will be an advantage. THEA Dramaturgy This class involves specific study of dramaturgical practices introduced in the Introduction to Theatre. Plays are read as performance scripts to gain an understanding of the implicit theatrical and social conventions which they contain, and with an eye to connecting scripts from other societies to a contemporary audience. The relationship between theatres and their

13 communities will be examined and students also work actively with the DalTheatre season of plays. THEA Modern Theatre The modern theatre has been characterized by successive bursts of creative energy and experiment. This class gives an opportunity to study these developments in detail and to examine several important theatrical theories and their application. THEA The Modern Theatre 1: Realism and Responses (cross-listed as ENGL 3501) From the 1870s until the coming of the First World War, the theatre underwent a series of radical transformations. This class explores the key theatrical movements of this period, including realism, naturalism, symbolism, and expressionism, and compares the theories behind them to the plays, stagecraft, and performance techniques they produced. THEA Tragedy (before 1994/95: Special Topics in Modern Theatre) A study of how and why the structure of plays has altered from the classical Greek period to the eclecticism of the 20th century. The content of the class will begin with Greek tragedy, cover the Elizabethan/Jacobean periods, the Spanish Golden Age, Neo-Classicism, 19th century Romanticism and modern drama. THEA Comedy This course complements the class on tragedy. The main subject of the course is an in-depth analysis of comedy and other related dramatic genres such as farce, burlesque, parody, travesty and tragicomedy. A substantial portion of class will be devoted to the investigation of classical theories of comedy and laughter. THEA Special Topics: Ethics of Laughter The student explores in detail particular areas of the theatre of special interest, with the guidance of members of the faculty. Frequency and the length of meetings are decided to meet the needs of the particular topic or project under study. The crucial question defining a critical perspective on the ethics of laughter is not whether or not there is offensive laughter but whether or not all laughter offends. It is probably clear to everyone that some instances of laughter not only lack sympathy but are often openly

14 condescending and malicious. What is less certain is whether or not there also exists laughter that is totally harmless. This Special Topics class is designed to investigate the possibility of such laughter and to examine if one can find a theoretical instance when this common audience reaction alienates no one. In order to achieve this objective, we will read a number of plays and some other related works, as well as works of theory and criticism on comedy, humour, and laughter. THEA Advanced Seminar in Baroque Culture (cross-listed as HIST 4162, MUSC 4360) This course offers its students a survey of key aspects of seventeenth and eighteenth-century European history and society along with a first-hand view of some of the most important aspects of baroque style and material culture. The class introduces students to the socio-political conditions that led to the birth of Baroque civilization before entering into an exploration of the court life of seventeenth and eighteenth-century Europe. It then examines the cultural and artistic forms most characteristic of this period, with particular emphasis on theatre history and on the role of the theatrical in the Baroque arts. As the course proceeds, students will have an opportunity to consider the connections between course material and the evidence of Baroque culture to be found in the Castle Theatre s scenographic machinery, its stock of original scenery and props, and its collection of historical costumes, as well as to witness an experimental Baroque opera performance. Finally, the course will include visits to Prague and other sites of interest to add to students understanding of the Baroque and its legacy to subsequent periods. THEA Theory and Criticism of Drama and Theatre All of the arts face a profound problem in the attempt to establish criteria for evaluating creative activity. This class tackles that problem as it affects the theatre. It looks at the various hypotheses and critical strategies that have been devised hitherto, and attempts to judge their present worth. It also asks what critical values are necessary for the survival and future growth of the theatre. THEA Theatre Criticism from Aristotle to the Present A workshop oriented class in which students learn the principles of performance reviewing and theatre criticism using the examples of current productions and classical authors. The student explores on an individual basis various subjects from traditional and modern dramatic theory. The discussed theoreticians include: Aristotle, Horace, Castelvetro, Boileau, Lessing, Hegel, Archer, Nietzsche, Souriau, Brecht etc.

15 THEA Contemporary Theatre This course will deal with the most recent developments in theatre, especially with those post-1970 s trends that exercise a broad international influence. Each year, our investigation will begin with a brief look at postmodern theatre and cover topics such as performance art, physical, and postdramatic theatre. The main focus of the course, however, will be dictated by what is currently happening on major stages across the world and may significantly change from one year to another. In the interest of a comprehensive and inclusive approach to the subject, both commercial and experimental theatres will be studied, and we will also examine some relevant works of criticism and theory. Since much of the material required for this course is not yet removed enough from our time to be accessible in scholarly literature, the students should be prepared for alternative methods of research. CTMP Semiotics Semiotics is a methodological discipline that studies signs, significations, and signifying systems. Because of its interest in the production of meaning, semiotics is widely applicable and has exercised a major influence on virtually every epistemological development in the second half of the twentieth century, from Lacanian psychoanalysis to deconstruction. Some of its fields of investigation include linguistics, culture, literature, mass media, theatre, and film. Through the reading of works by de Saussure, Peirce, Morris, Jakobson, Lévi-Strauss, Barthes, Eco, and other scholars, this course will introduce students to the essential terminology and typology of semiotics. Special attention will be paid to the practical use of semiotics as a critical and analytical tool, as well as to the variety of historical and cultural contexts in which semiotics appears. CTMP Studies in Contemporary Aesthetic and Critical Theories; Text and Performance: Semiotic Views of Theatre Topics vary each year. Some of the topics are Contemporary Theory and Mass Media, and The Aesthetics of Death. One of the areas of critical investigation where semiotics has been applied most successfully is theatre. With its unique ability to analyze, describe, and evaluate complex systems of signs, semiotics can address a variety of issues that evade many other methodological approaches to theatre and drama. Through studying a number of books and articles by authors such as Kowzan, Barthes, De Marinis, Elam, Ubersfeld, Pavis, Pfister, Fischer- Lichte, and Carlson, this course will focus on the relationship between the dramatic text and theatrical performance. We will discuss questions about the distinction between interpretation and transposition as staging

16 strategies, the notion of director as author, and the impact of modernist readings on the reception of classical texts. In addition to theoretical works, the students will also be expected to read a number of plays and research several productions. Some knowledge of the terminology of structuralism and poststructuralism will be beneficial but is not required. Directed-reading classes supervised 2001/02 CTMP /00 THEA , THEA /98 THEA , THEA , THEA /97 THEA /96 THEA , THEA , THEA /95 THEA /94 THEA , THEA , THEA /93 THEA Honours students supervised THEA CTMP 2004/ / / / / / / /96 2 Graduate theses supervised 2002 Colin Lake (MA in English): A Kind of Play Without Theatre : Theatre and Theatricality in the Novels of Robertson Davies 1998 Stephanie Mason (MA in English): A Strange Pig s Breakfast: The Use of Witty Metaphors in Tom Stoppard s Early Plays Class enrolments

17 THEA 1000 THEA 2011 THEA 2012 THEA 2900 THEA 3500 THEA 3510 THEA 3511 THEA 4700 THEA 4735 THEA 4900 THEA 4910 THEA 4931 Departmental average THEA 1000 THEA 2011 THEA 2012 THEA 2900 THEA 3500 THEA 3510 THEA 3511 THEA 4700 THEA 4735 THEA 4900 THEA 4910 THEA 4931 CTMP 2304 CTMP 3415 Total 2009/10 Acting Dean 2008/ / / * /06 Sabbatical leave 2004/ / / / / / /99 Sabbatical leave 1997/ / / / / / *Summer class. Student evaluations 2009/10 Acting Dean 2008/ / / /06 Sabbatical leave 2004/ / / / /

18 1999/ /99 Sabbatical leave 1997/ / / / / / Before 2001/2, Department of Theatre used its own evaluation forms. From then on, the new, standardized Dalhousie University student evaluation forms have been used. Yearly averages after that year are based on second-term means and calculated using the total of all nine numerical questions.