1.7. Número de créditos / Credit allotment

Transcription

1 ASIGNATURA / COURSE TITLE Teatro, representación, política: dramataurgas contemporáneas norteamericanas/ Theatre, Representation, Politics: Contemporary American 1.1. Código / Course number Materia / Content area Módulo 2: Lenguajes Literarios/ Module 2: Literary Languages Teorías literarias de los siglos XX y XXI / 20th and 21st-century Literary Theories 1.3. Tipo / Course type Optativa. Elective 1.4. Nivel / Course level Graduate Studies / Master 1.5. Curso / Year Semestre / Semester 1/ First 1.7. Número de créditos / Credit allotment 5 ECTS 1.8. Requisitos previos / Prerequisites Graduados con nivel alto de inglés. Graduates with high level of English. 1 de 8

2 1.9. Requisitos mínimos de asistencia a las sesiones presenciales / Minimum attendance requirement Asistencia mínima obligatoria: 80% / Compulsory attendance: 80% Datos del equipo docente / Faculty data Dra. Noelia Hernando Real Profesora Contratada Doctora Departamento de Filología Inglesa. Facultad de Filosofía y Letras. Office: 206, Módulo VI bis Telf noelia.hernando@uam.es Las tutorías se anunciarán al comienzo del curso / Tutorial hours will be arranged and announced at the beginning of the course Objetivos del curso / Course objectives The aim of this course is to analyze, discuss, and reflect upon the most relevant literary theories of the 20th and the 21st centuries as applied to modern and postmodern drama by American women playwrights. Using a variety of critical tools, the course will discuss the ways in which selected women playwrights have staged social, cultural, political and gender concerns on the America stage. This course will provide a detailed textual and visual analysis of the dramatic works listed in the program, as well as the historical, political, and cultural background to the given plays. Through a deep analysis of the selected plays students will learn to elucidate the close relationship between given literary theories, women s political and social claims, and their adaptation to dramatic texts and specific performances. The course will also focus on the selected women playwrights shifts from realism and their particular experiments in dramatic and theatrical form and language. Students should acquire and/or develop the following skills in the field of English literature, culture, communication, drama and theatre studies: CB6 Acquire and command knowledges that provide a basis or opportunity to be original in the development and/or application of ideas, mostly in a research context. CB7 Know how to apply the acquired knowledge and solve problems in new and scarcely known fields within their wider (or multidisciplinary) contexts related to their field of study. CB9 Know how to communicate their conclusions, their knowledge and their ultimate supporting evidences to both specialized and non-specialized audiences in a clear way. 2 de 8

3 CB10 Acquire learning tools that allow for autonomous study. B1. Develop an advanced knowledge of the main theoretical foundations of the disciplines and methodologies relevant to this Masters Degree. B2. Learn to apply the knowledge thus acquired to the solution of new problems in the field. B3. Learn to apply inductive and deductive reasoning to the making of critical judgments on the social and ethical responsibilities of knowledge. B4. Communicate their conclusions, as well as the data that support them and the reasoning behind them, to specialist and non-specialist audiences alike, in clear and unambiguous English. B5. Develop skills that will enable them to continue their studies in a largely autonomous manner. GENERAL SKILLS G1. Increase their knowledge of the links between English literatures and other cultural manifestations. G2. Enhance their knowledge and ability to handle major bibliographical resources and databases in the field. SPECIFIC: E1. Acquire an adequate understanding of the development of canonical and noncanonical / classical and contemporary forms in their field of study. E2. Be familiar with the different critical traditions hermeneutical, historical, formalist- on both the theoretical and the practical levels, as well as with the most representative and influential traductological theories in our field. E4. Acquire competence in articulating ideas, both orally and in writing, with academic rigour and according to the rules of essay-writing in English. E7. Develop a firm grasp of the concepts and uses of dialogism, intertextuality, comparativism, liminality and reception in such a way as to be able to deal with issues of transition, exchange and conflict in the literary field. TRANSVERSAL E9. Be able to weigh the relative merits of different arguments in the defence of a thesis, opinion or idea. 3 de 8

4 T1. Be able to plan their own work and manage work schedules efficiently, and to reflect on their own learning process and evaluate it. T2. Be able to work in a team and to reach consensual judgments and decisions. T3. Become familiar with the bases and development of the scientific method and of academic procedures; be able to locate, synthesize, contextualize and assess information obtained from oral, written and electronic sources and media, as well as to use bibliographical conventions correctly. T4. Accept the ethics of research and assume them as a personal responsibility Contenidos del programa / Course contents Course Programme 1. Introduction: The language of Drama and Theatre. Dramatic and theatric conventions. Brief introduction to the history of American drama and theatre. Political, historical and cultural introduction to contemporary American women playwrights. Main critical theories to be used in course. 2. Beyond commercial realism: The Provincetown Players and the creation of a native theatre. Susan Glaspell s The Outside and The Verge. 3. The drama of the automaton woman: Expressionism and Sophie Treadwell s Machinal 4. Mothers, daughters and their Surrealistic Encounters: Jane Bowles s In the Summer House 5. Psychological Realism: Marsha Norman s Getting Out / night Mother 6. Epic Theatre, Gender and Power: Maria Irene Fornes s Mud 7. Epic Theatre, Gender and the Working Class: Naomi Wallace s Slaughter City 8. Postmodern Magic Realism: Sarah Ruhl s Passion Play 9. Testimonial theatre, women and war: Heather Raffo s Nine Parts of Desire 4 de 8

5 10. Rewriting the canon: Rep & Rev in Suzan-Lori Parks s Fucking A Referencias de consulta / Course bibliography Alberola Crespo, Nieves and Noelia Hernando Real, eds. Mujeres a escena: Dramaturgas contemporáneas norteamericanas ( Contemporary US Women Dramatists ). Asparkía 23 (December 2012). ISSN: Al-Shamma, James. Sarah Ruhl. A Critical Study of the Plays. Jefferson, NC: McFarland, Print. Aston, Elaine. An Introduction to Feminism and Theatre. London and New York: Routledge, Print. Barlow, Judith E. Introduction. Plays by American Women Ed. Judith Barlow. New York: Applause, ix xxxiii. Print. Belsey, Catherine. Constructing the Subject/ Deconstructing the Text. Feminist Criticism and Social Change: Sex, Class, and Race in Literature and Culture. Eds. Judith Newton and Deborah Rosenfelt. London and New York: Methuen, Print. Bigsby, C. W. E. A Critical Introduction to Twentieth- Century American Drama. Volume One, Cambridge: Cambridge UP, Print. Black, Cheryl. The Women of Provincetown, Tuscaloosa and London: U of Alabama P, Print. Brater, Enoch, and Ruby Cohn, eds. Around the Absurd: Essays on Modern and Postmodern Drama. Ann Arbor: U of Michigan P, Print. Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. Ed. and trans. John Willett. London: Metheun, Print. Brockett, Oscar G. History of the Theatre. Boston: Allyn and Bacon, Print. Brook, Peter. The Empty Space. London: Penguin, Print. The Shifting Point: Forty Years of Theatrical Exploration. London: Methuen, Print. Bürger, Peter. Theory of the Avant- Garde (1984). Trans. Michael Shaw. Minneapolis: U of Minnesota P., 1992 (1974. Theorie der Avantgarde. Frankfurt a. M.: Suhrkamp.) Print. Burke, Sally. American Feminist Playwrights: A Critical History. New York: Twayne Publishers Print. Carlson, Marvin. Performance: A Critical Introduction. New York and London: Routledge, Print. Case, Sue- Ellen. Feminism and Theater. London: Macmillan, Print. Cummins, Scott T., and Erica Stevens Abbitt. The Theatre of Naomi Wallace. Embodied Dialogues. New York: Palgrave Macmillan, Print. 5 de 8

6 Diamond, Elin. Unmaking Mimesis: Essays on Feminism and Theater. London and New York: Routledge, Print. Durham, Leslie Atkins. Women s Voices on American Stages in the Early Twenty-First Century. Sarah Ruhl and her Contemporaries. New York: Palgrave Macmillan, Print. Elam, Keir. The Semiotics of Theatre. London: Methuen, Print. Friedman, Sharon. Feminism as Theme in Twentieth- Century American Drama. American Studies 25 (1984): Print. Gainor, J. Ellen. Susan Glaspell in Context: American Theatre, Culture, and Politics Ann Arbor: U of Michigan P, Print. Garner, Staton B. Jr. Bodied Spaces: Phenomenology and Performance in Contemporary Drama. Ithaca, New York: Cornell UP, Print. Geis, Deborah R. Suzan-Lori Parks. Ann Arbor: U of Michigan P, Print. Hernando Real, Noelia. Self and Space in the Theater of Susan Glaspell. Jefferson, NC: McFarland, Print. Voces contra la mediocridad: la vanguardia teatral de los Provincetown Players, Valencia: Universidad de Valencia, Print. Hinz- Bode, Kristina. Susan Glaspell and the Anxiety of Expression. Language and Isolation in the Plays. Jefferson, North Carolina and London: McFarland, Print. Kolin, Philip C. Suzan-Lori Parks: Essays on the Plays and Other Works. Jefferson, NC: McFarland, Print. Murphy, Brenda. The Provincetown Players and the Culture of Modernity. Cambridge: Cambridge UP, Print. Ozieblo, Barbara, and Jerry Dickey. Susan Glaspell and Sophie Treadwell. Routledge Modern and Contemporary Dramatists. London: Routledge, Print. Ozieblo, Barbara and Noelia Hernando Real, eds. Performing Gender Violence. Plays by Contemporary American Women Dramatists. New York: Palgrave, Macmillan, Print. Schroeder, Patricia. The Presence of the Past in Modern American Drama. Rutherford, Madison, Teaneck: Farleigh Dickinson UP, Print. Stansell, Christine. American Moderns: Bohemian New York and the Creation of a New Century. New York: Henry Holt and Company, Print. Ubersfeld, Anne. Reading Theatre. Trans. Frank Collins. Toronto: U of Toronto P, (1977. Lire le théâtre. Paris: Éditions Sociales.) Print. Wainscott, Ronald H. The Emergence of Modern American Theater New Haven and London: Yale UP, Print. Watson, Steven. Strange Bedfellows: The First American Avant- Garde. New York: Abbeville Press, Print. Wilmer, S. E. Theatre, Society and the Nation: Staging American Identities. Cambridge: Cambridge UP, Print. Wilmeth, Don B., and Christopher Bigsby, eds. The Cambridge History of American Theatre. Cambridge: Cambridge UP, Print. 6 de 8

7 2. Métodos docentes / Teaching methodology Theoretical and practical classes. Presentations and Seminars. Performance analysis based on images, films and productions. Active participation of the students is required. 3. Tiempo de trabajo del estudiante / Student workload Presencial (Contact hours) No presencial (autonomous Work) Lectures, practical analysis and debates Presentations Tutorials Readings and preparation of presentations Final Project. Nº de horas Percentage 37,5 hs 5 hrs 57,5 hs 25 hrs 42,5 hs (34%) 82,5 hrs (66%) Total working hours : 25 hrs x 5 ECTS 125h 4. Métodos de evaluación y porcentaje en la calificación final / Evaluation procedures and weight of components in the final grade Participation in seminars and presentation(s): 40%. Students are expected to read the plays and given articles before coming to class and to work on the aspects and questions indicated by the lecturer in advance. The oral presentation should show 7 de 8

8 the student s engagement with the text and topic and the research done to provide evidence. Instructions will be provided at the beginning of the course. Final paper: 60% (Note that an acceptable level of academic quality of this paper is required to pass this course). Instructions and suggested topics will be provided during the course. 5. Cronograma* / Course calendar Semana Week Contenido Contents Horas presenciales Contact hours Horas no presenciales Independent study time 1 Introduction Provincetown Players and Susan Glaspell 3 Susan Glapell and Sophie Treadwell Jane Bowles Marsha Norman Maria Irene Fornes Naomi Wallace Sarah Ruhl Sarah Ruhl Heather Raffo Suzan-Lori Parks Presentations Tutorials, seminars, independent study time, essay writing 18, de 8