MODERN BRITISH DRAMA. Spring Dr. Sheila Fox

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1 Spring 2015 MODERN BRITISH DRAMA Dr. Sheila Fox The course examines key elements in the development of British theatre through a study of dramatists whose work is currently being performed in London. While the precise shape of the course is dependent on the plays that are on stage at the time of your visit to Britain, we will cover a range of periods and styles, with particular emphasis, as always, on the very rich and important period between the 2 nd World War and the present. This semester we start with a Royal Shakespeare Company production of one of Shakespeare s great history plays, Henry IV Part One.followed by another Shakespearean history play, although this time not written by Shakespeare but by Mike Bartlett the muchacclaimed fantasy history play, King Charles III, which imagines what happens when Elizabeth II dies and our present Prince of Wales ascends the throne. Also from Mike Bartlett we have Bull, his vicious depiction of cut-throat office life, at the Young Vic s tiny studio theatre. Still at the Young Vic, but this time on its main stage, there is Happy Days from Samuel Beckett, the 20 th Century s master of absurdism. The magnificent new Jacobean theatre at Shakespeare s Globe, which reflects early English candle-lit and timber-framed theatre design, is presenting Jacobean theatre s dark and depraved classic, The Changeling, by Middleton and Rowley,. The first major revival of ground-breaking AIDS play, My Night With Reg, transfers from the Fringe to the West End. We see another ground-breaking revival, Joan Littlewood s marvellous anti-war musical Oh What a Lovely War, revived last year to commemorate the outbreak of the First World War and now making a welcome return to its home in the East End the Theatre Royal, Stratford East. Also in this hugely important community theatre is a 21 st Century urban version of Sophocles Antigone. Multi-award-winning The Nether, about the dangerous and disturbing wonderland which the digital realm offers, transfers from the Royal Court to the West End. The National Theatre presents Behind the Beautiful Forevers, a tumultuous play on an epic scale about life in the slums of Mumbai, based on an award-winning book and adapted by the great David Hare. Also at the National Theatre, there is Shaw s witty and provocative classic, Man and Superman with Ralph Fiennes in the main role. Finally, we see one of the most spectacular and sought-after shows in London, The Curious Incident of the Dog in the Night-Time. Students will acquire; 1/ Knowledge of the development of British drama from Shakespeare to Modern. 2/ An understanding of the social and historical contexts out of which the plays spring. 3/ The ability to relate text to production and in so doing to assess the relative value of both. 4/ Critical skills; the ability to assess individual plays effectively, to form your own opinions about what is being experienced and to base these on valid criteria. 5/ The skill of being able to take part in a discussion on a play through sharing your own perceptions and absorbing other views through listening and empathy. 6/ An appreciation of the many different types of English theatre, ranging from the major subsidised companies (the Royal National Theatre and the Royal Shakespeare Company, in particular), through the commercial venues of the West End to the smaller alternative theatres on what used to be known as the Fringe.

2 7/ A genuine enthusiasm for theatre at its most thought-provoking.something which will, it is hoped, become an enduring, lifelong passion. Course Requirements 1/ Seminar Presentation: Critical Review (20 minutes) 15% 2/ Written Review: (300 words) on a play in production to be handed in by Feb. 25. Hard copy only. 20% 3/ Essay: (1000 words) Critique of a play in production, relating it to the text, the theatrical tradition and the social backdrop from which the play springs..to be handed in by April 8. Hard copy only. 25% 4/ Final Exam: 25% 5/ Continual Assessment: Full Attendance at both theatre and class is an integral part of this course, as is class participation. Non-attendance at either class or theatre (without prior consultation and/or an adequate reason) will result in an automatic deduction of marks. Participation will also be reflected in the Continual Assessment mark. 15% The weekly seminar will comprise; THE SEMINAR 1/ A class presentation by one student on the play which has just been viewed. 2/ Critical discussion by the group as a whole, on the given play. This discussion will be led by the lecturer, using the presentation which has just been heard as a spring-board. 3. A lecture component addressing the next play to be seen, including information on the dramatist and the social, historical and literary context. Classes are on Wednesdays at 1 pm 3.15 except: Class on Weds. Jan. 14 has been re-scheduled for Fri. Jan 23 (1pm pm) Class on Weds Feb. 18 has been re-scheduled for the following Monday morning, Feb. 23 ( ).because of your field trip. Class on Weds. Apr. 15 has been re-scheduled for Fr. Apr. 17 (1pm 3.15pm)

3 Key Reference Modern British Drama The Twentieth Century. Christopher Innes. Cambridge University Press Suggested Reading Changing Stages: A View of British Theatre in the Twentieth Century Richard Eyre and Nicholas Wright Bloomsbury 2000 New British Drama in Performance on the London Stage R.A. Cave Col in Smythe Dreams and Deconstructions: Alternative Theatre in Britain. Ed. Sandy Craig Amber Lane press 1980 Required Reading Students are required to read the following playtexts: Henry IV Part One by Shakespeare (by Jan 12) Macbeth by Shakespeare (by Jan. 21) The Changeling by Middleton and Rowley (by Feb. 4) Happy Days by Beckett (by Feb.23) Waiting for Godot by Beckett (by Feb.23) Antigone by Sophocles (by Feb. 25) Look Back in Anger by Osborne (by Mar. 4) Saved by Bond (by Mar. 25) Plus The Curious Incident of the Dog in the Night-Time by Mark Haddon (by Feb. 11) Behind the Beautiful Forevers by Katherine Boo (by Mar. 25) Additional reading on specific areas may also be suggested. French s Theatre Bookshop (52 Fitzroy St.) has by far the best selection. They also provide specialist help. There is also Waterstones and the National Theatre has a good bookshop too. Students are requested to buy a programme for each production. They are also requested to read a selection of the production reviews in the daily papers (Guardian and Independent), the Sunday papers (e.g. Observer), the weeklies (e.g. Time Out) and any of the many theatre magazines on sale (particularly Theatre Record).

4 The Schedule so far (plays are on Mondays unless otherwise stated): Date Production Writer Venue Time Jan. 12 Henry IV Shakespeare Barbican 7:15 Part One Jan. 21 (Weds) Jan. 22 (Thurs) Jan 26 Feb. 2 Feb. 10 Feb. 19 (Thurs) Bull Bartlett Young Vic 7:45 Maria King Charles Bartlett Wyndhams 7:30 III My Night with Reg Oh What a Lovely War The Changeling The Curious Incident of the Dog in the Night-Time Elyot Joan Littlewood/Theatre Workshop Apollo Shaftesbury Ave. Theatre Royal Stratford East 7:45 7:30 Middleton and Rowley Globe/Sam 7:30 Wanamaker Playhouse Haddon/Stephens Gielgud 7:30 Feb. 23 Happy Days Beckett Young Vic 7: 30 Mar. 3 Antigone Sophocles/Williams Theatre Royal Stratford East Mar. 9 The Nether Haley Duke of York s Mar. 16 Break Mar. 23 Mar. 31 April 6 Man and Superman Behind the Beautiful Forevers TBA Shaw Boo/Hare National Lyttelton National Olivier :30 7pm 7.30 April 16 April 22 (Weds) American Buffalo Exam Mamet Wyndhams 7.30 Normal class time

5 Grading A % A % A % B % B % B %

DRAMA IN LONDON: ANCIENT, SHAKESPEAREAN, MODERN: Text and Performance

DRAMA IN LONDON: ANCIENT, SHAKESPEAREAN, MODERN: Text and Performance Instructor Dr Boika Sokolova Course Number ULF ENGL 110 (also cross-listed as DRAMA 110 ) Aims and Objectives The present course has