CERRITOS COLLEGE. Norwalk, California COURSE OUTLINE ENGLISH 235 READINGS IN THE DRAMA. Approved by the Curriculum Committee on: February 24, 2000

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1 CERRITOS COLLEGE Norwalk, California COURSE OUTLINE ENGLISH 235 READINGS IN THE DRAMA Approved by the Curriculum Committee on: February 24, 2000 Niki Lovejoy-Robold Assistant Professor of English Reviewed by: Stephen Clifford Department Chair, English David Fabish Instructional Dean, Liberal Arts Rick Miranda Vice-President of Academic Affairs/ Assistant Superintendent Revised/reviewed: 05/88, 12/8/94, 2/22/96, 1/27/00, 2/24/00, 10/24/02, 1/22/04, 2/23/06, 9/30/11, 02/13/18 Content review: 2/22/96, 10/24/02, 1/22/04

2 ENGL 235 READINGS IN THE DRAMA 2 I. Catalog-description A. This course studies the drama from its ancient Greek origins to its present day expressions. It emphasizes both content and form and highlights the literary techniques specific to this genre of literature. (Formerly ENGL 35) B. Class hours: 3 lecture Units: 3 C. Prerequisite: Satisfactory completion of the English Placement Process or ENGL 52 or equivalent with a grade of Credit or "C" or higher. D. Co-requisite: None E. Recommendation: None 11. Texts and other instructional materials A. Required texts The following or other Board approved texts Gainor, J. Ellen, Stanton B. Garner Jr., Martin Pucher. Norton Anthology of Drama (vol. 2), 2 nd ed, W.W. Norton and Company, Gwynn, R.S. Drama: A Pocket Anthology (Penguin Academics Series). 5 th ed, Longman, Klaus, Carl, Miriam Gilbert, Bradford S. Field Jr. Stages of Drama: Classical to Contemporary Theater. 5 th ed, Bedford/St. Martin s, Meyer, Michael. The Bedford Introduction to Literature: Reading, Thinking, and Writing. 11 th ed, Bedford/St. Martin s, B. References Brockett, Oscar G.. The Essential Theatre. 10 th ed, Wadsworth Publishing, Carlson, Marvin. Theories of the Theater: A Historical and Critical Survey, from the Greeks to the Present. Cornell University Press, Wilson, Edwin. Living Theatre. 7 th ed, W.W. Norton and Company, Ancient Greek (classical) a. Sophocles. The Three Theban Plays: Antigone, Oedipus the King, Oedipus at Colonus. Penguin Classics, b. Aeshylus. The Oresteia: Agamemnon, The Libation Bearers, the Eumenides. Penguin Classics, c. Aristophanes. The Frogs and Other Plays. Penguin Classics, Medieval a. Everyman and Other Miracle and Miracle Plays. Dover Publications, Renaissance a. Marlowe, Christopher. Doctor Faustus. Dover Publications, b. Shakespeare, William. A Midsummer Night's Dream, Hamlet, The Tempest. Simon and Schuster, th, 19 th, and early 20 th Centuries a. Moliere. Tartuffe. Dover Publications, b. Sheridan, Richard Brinsley. The School for Scandal. Dover Publications, c. Ibsen, Henrik. Hedda Gabler. Dover Publications, d. Checkhov, Anton. The Cherry Orchard. Dover Publications, 1991.

3 ENGL 235 READINGS IN THE DRAMA 3 II. III. Texts and other instructional materials (continued) 5. Modern (early 20' Century) and Contemporary a. Pirandello, Luigi. Six Characters in Search of an Author. Dover Publications, b. Pinter, Harold. The Dumb Waiter. Grover Press, c. Williams, Tennessee. The Glass Menagerie. New Directions, d. Miller, Arthur. Death of a Salesman. Penguin Books, e. Hansberry, Lorraine. A Raisin in the Sun. Vintage, f. Puig, Manuel. Kiss of the Spider Woman. Vintage, g. Fugard, Athol. Master Harold and the Boys. Vintage, h. Mamet, David. Oleanna. Vintage, C. Required materials None Course content A. The essential ingredients of dramatic literature I. Action, conflict, plot exposition, rising action, falling, action, crisis, climax, denouement 2. Characters protagonist, antagonist 3. Setting -- time, place, atmosphere or mood 4. Structure act, scene, line 5. Theme 6. Language 7. Symbolism and motif 8. Irony dramatic and verbal B. The distinctive terminology of dramatic literature I. Anagnorisis discovery 2. Catharsis 3. Comic relief 4. Deus ex machina 5. Hubris 6. Masque 7. Play-within-the-play 8. Repartee 9. Theater of the absurd C. The various forms in which dramatic literature may be presented I. Tragedy 2. Comedy 3. History 4. Romance 5. Tragic-comedies, historical; romances, and other hybrid forms

4 ENGL 235 READINGS IN THE DRAMA 4 III. IV. Course-content (continued) 6. Variations on all of the above genres a. Farce b. Melodrama c. Comedy of manners d. Drawing room comedy e. Closet drama f. Commedia dell'arte D. The various styles in which dramas have been written and produced throughout history a. Classis b. Romantic c. Realistic d. Naturalistic e. Expressionistic f. Impressionistic g. Absurdist E. The forms in which dramas have been written, produced, and staged for audiences and their distinctive attributes and styles a. Screenplays b. Adaptations c. Teleplays d. Videotapes e. Live productions f. Theater-in-the-round g. Theater in the park h. "Participatory" theater (involving the audience) i. Community theater j. Theater of protest Course objectives A. Trace the historical development of drama as a literary genre from its ancient beginnings to its present-day manifestations B. Recognize the various forms that drama can take (such as tragedy, comedy, and history), and understand their unique characteristics, forms, and styles C. Grasp the essentials of critical theory, as applied to drama (starting with Aristotle's Poetics), and demonstrate how these concepts can be applied to specific plays D. Understand the concepts and traditions considered to be critical to study in the humanities, as expressed in dramatic literature (e.g. the Faustian theme, the journey as spiritual guest, etc.) E. Identify the most famous and significant dramatic works created in English literature, as well as translations of renowned foreign plays in translation F. Analyze a dramatic work in terms of at least one of its essential elements, such as character, plot, setting, structure, language, or irony

5 ENGL 235 READINGS IN THE DRAMA 5 IV. Course-objectives (continued) G. Recognize and appropriately use the concepts and terminology essential to an understanding of dramatic literature (e.g., protagonist, dramatis personae, deus ex inachina, etc.) H. Locate dramatic works within some sort of meaningful academic context e.g., in terms of a historical perspective or an artistic, political, or ideological movement or tradition I. Appreciate the subtleties and nuances of the language used within a dramatic work J. See drama as a reflection of human conflict, of human struggle-and as a "mirror held up to man" so that be might find direction in his quest for meaning K. Appreciate the drama not as a static literary form, but as a text to be acted out and presented, with motivation and meaning, to a live audience L. Compare the impact and quality of presentations of the same dramatic work in different media M. Appreciate the rich variety of possible interpretations afforded by different productions of the same dramatic text N. Understand the dramatic impulses, traditions, and conventions underlying the teleplay and screenplay, as well as their distinctive problems and formats, especially as related to audience and production issues O. Develop the critical/analytical skills to discriminate between "good" and "bad" dramatic works and productions V. Assignments A. Reading 1. Historical and biographical sources 2. Interviews of playwrights, actors, actresses, producers 3. Supplementary material on the playwright's life and times 4. Alternative versions or editions of the play 5. Translations of the play 6. Reviews of the play in various productions 7. Directors' notes 8. Internet searches, web site visits, newsgroups 9. Viewing of the plays in video or film versions 10. Participation in symposia, round table discussions, teleconferences B. Writing or problem solving or skill attainment 1. Brief, personal, "journal"-style responses to the plays or to sections of passages within them-such as to a specific speech, dialogue, or scene 2. Creative responses to specific problems being studied in the play at handfor instance, writing imaginary interior monologues for characters at strategic moments in the conflict 3. The creation of alternative scenes or speeches for chosen characters 4. Student-written scripts, depicting scenes of conflict from their own lives 5. Analyses of particular scenes, speeches, or dialogues, showing their critical position in the development of the play's conflict

6 ENGL 235 READINGS IN THE DRAMA 6 V. Assignments (continued) 6. Responses to specific questions about any of the play's workings-be it plot, character theme, setting, structure, language, style, etc. 7. Comparative studies or commentaries on two performances of the play-for instance, a live vs. video production 8. Critical responses to commentaries professional writers have produced on the plays, in which students must defend their own critique of the play. 9. Informative reports revealing the results of student research on a particular - aspect of a play, playwright, literary tradition, historical background, or the like 10. Argumentative papers in which students defend their view of a particular character, scene, episode, or view of a particular play-or present their understanding of a particular literary or dramatic topic, issue, or perspective C. Critical thinking I. Participating in "mini-dramas" in which they act out scenes from the plays 2.. Comparing and contrasting two characters, themes, settings, etc., in the same or different works 3. Researching social, political, historical, or economic issues related to the plays being studied and making class presentations on them 4. Tracing the development of major social or historical trends (like racism, sexism, or economic oppression) through the works of several playwrightsor through the opus of one particular playwright 5. Selecting, preparing, and presenting to the class dramatic readings of key scenes from the plays, followed by a question-and-answer period on the possible significance(s) of the chosen scene 6. Illustrating how a major ideological concern (like the role of women in society) is repeated in two or more works of that time 7. Demonstrating how the major characteristics of a movement such as Expressionism are illustrated in a particular play 8. Creating a modern-day parody of a play from an earlier era or vice-versa 9. "Role-playing" the dilemma of a dramatic character by creating improvisational scenes depicting his or her conflict 10. Sharing with other members of the class the results of an. Internet search on a class-related issue by holding a session in the computer lab VI. Methods of instruction may include A. Lecture and discussion B. Reading and researching C. Listening to and viewing audio and visual materials (tapes, videos, films) D. Conducting Internet researches both inside and outside of class E. Watching live and recorded productions on the Internet F. Participating in video-conferences and other multi-media concepts G. Attending live and videotaped performances of plays H. Creating Power Point presentations keyed to course concepts

7 ENGL 235 READINGS IN THE DRAMA 7 VI. Methods of instruction (continued) L Attending and participating in seminars, discussions, and symposia, both on and off campus, related to the plays themselves, their backgrounds, their playwrights, productions, meaning, and significance J. Participating in dramatic workshops K. Writing original scripts and performing them L. Participating in improvisational skits and scenes-and responding to those performed by others M. Staging debates, panel discussions, round-table discussions, and dialogues geared to issues and ideas drawn from or inspired by the dramatic texts VII. Methods of evaluation A. Objective tests created to ascertain student mastery of factual information, key ideas, concepts, dates, and terminology B. Essay examinations designed to explore the depth of student understanding, as well as his or her ability to assimilate ideas in a comprehensive fashion C. Formal and informal papers and writings used to gauge student mastery of key concepts and ideas, as well as integration of intellectual and emotional significance D. Oral reports and performances demonstrating student ability to absorb material, transform it into a meaningful personal experience, and to communicate his or her new understanding of it in a valuable way to others in the class E. Written and oral reports and commentaries on research and readings done to enhance understanding of class content F. Dramatic performances and student-written scripts, scenes, or dialogues that show an understanding of the nature, structure, purpose, and impact of drama as literature and as performance G. Participation in interactive classroom activities and exercises demonstrating an understanding of dramatic concepts, traditions, techniques-or of a particular scene, character, or dramatic work H. A research paper or report, either or both of which is presented orally to the class, on a specific issue of significance related to any topic of significance to the class objectives I. Final examination VIII. Student Learning Outcomes Meeting course requirements, students will accomplish the following: 1. Analyze contributions of major dramatists 2. Identify the tenets of dramaturgy 3. Recognize literary, cultural, and historical influences on specific plays 4. Write critical analyses of dramatic plays in MLA format 5. Recognize and interpret the importance of theatre in history 6. Argue aesthetic and technical components of genres in theatre

8 ENGL 235 READINGS IN THE DRAMA MULTICULTURAL STATEMENT The study of drama lends itself naturally to a multicultural approach. It explores human motivation, behavior, thought, and, especially, action, in a direct and compelling manner. Students come face to face with the conflicts, joys, pains, and sorrows that define the universal human experience. Whether the play deals with tribal rites in Nigeria, the musings of a Danish prince, or the conflicts of a homosexual prisoner in South America, our response is to the universality of its truths. At the same time, by investigating a broad range of dramatic literatures, from the time of early Greek tragedy to the present, students are exposed to diverse human experiences, values, and assumptions. So, by reading, listening to, watching, and even participating in live and taped dramatic performances, students directly experience the passions that both unite human beings and define their uniqueness. In fact, the more directly the students confront the conflicts and emotions that define the plays through acting out scenes, doing oral interpretations or writing drams in a variety of voices and from diverse points of view the more conscious they become of true-to-life problems and perspectives of others. This means not just talking about diversity, but feeling it whether that relates to race, class, culture, gender, or any other distinctive style or view of the world.