PLAN....

INTERPRETING VISUAL CULTURE

INTRODUCTION TO PLAYWRITING AND SCRIPT ANALYSIS: A HISTORY OF NARRATOLOGY.

THR 104-B Play Analysis

Aclose reading of several plays of different periods and

styles and a general examination of the elements out of

which all plays are made—dialogue, character, plot.

3credits3credits

Why do we like to ‘look at’ stories? Why do we like to experience them? Are there major differences between the ways we create and disseminate stories or do they all have the same ‘intent’? What made playwriting a favored form of communication? Is there something that remains in the form and content from early ritual theater and the Greeks down to this age of cell phones, You Tube, and iPods?

The answers to these questions are found in a serious study of how we send and receive the ‘dramatic’ message. In Greek society what did these dramatic messages do for a secular democratic society where the under class were largely illiterate? How did the ‘narratology’ of sender, message, and receiver change through the history of political/economic structures, environment/architecture, and technology and cognition? What do we look for when we ‘read’ a classic work of drama? How is this different from how it is staged with contemporary dramaturgy and interpretation and how is this different from seeing a DVD or Youtube version of that same ancient script? What endures in this society of rapidly changing mediums?

In this class we will read scripts, analyze them using a text and visual/movie blog, classroom discussion, and cell phones and ‘point-and-shoot’ digital cameras. We will present our findings in a final public performance event in New York City.

The overriding theme of all three of my classes and my independent research students is ‘Risk, Knowledge, Power, Fate’. Through the course work you are making a great piece of media, performance, film, interaction, 3-d work, essay, or exhibition to showcase in a famous venue in New York City. We usually find a time to do this at the end of the semester on Saturday afternoon. In the telematic age the new public is the old private: you must be able to articulate and present your given thoughts in the moment of your young development. Presentation and attendance of this event is mandatory and usually fun and enlightening.

The works:

-Oedipus Rex

-Aristotle: Poetics

-Thais: Roswetha

-Shakespeare: Hamlet

-Chickamatsu: Double Suicide

-Moliere: Don Juan

-Ibsen: Pyr Gynt

-Brecht: Mother Courage

-Beckett: Endgame

-Mamet: Glengarry, Glen Ross

-Syd Field: The Screenplay

Various critical reading on narratology and interpretation. Select film viewing.

The wireless seminar room and computer lab present the temptation of email and the web; therefore,

students must follow basic ground rules:

§ Students should switch off and stow their cell phones before class begins.

§ Students will not type when somebody is addressing the class.

§ Students will not text, check email, electronically chat, update their social networking status or surf the web during class, unless instructed to do so.

Lack of engagement in class activities, inadequate preparation, and failure to adhere to classroom rules will substantially lower your participation grade for the course.

Policies

Lateness Policy Since class preparation activities form the basis of in-class discussion, I will not accept these assignments late, nor will I allow students to reschedule their group presentations. Essays are due at the time indicated; work

submitted after the due date and time will be considered late. Late essays will receive a 10-point deduction per day late, including weekends and holidays. Please note that I will not accept late essay revisions, as such revisions are optional. I will make exceptions to the lateness policy only in cases of documented illness or

family emergency.

Technology glitches do not constitute valid excuses for lateness.

Plagiarism Policy

In your class preparation, presentation, and essays, you may draw upon the ideas and words of other writers. However, you must make clear to your audience that you are incorporating another’s work by placing quotation marks around exact words and citing the author’s name whenever you quote, summarize or paraphrase. Failure to credit sources may result in a failing grade for the assignment, a failing grade for the

course, or expulsion from the university. The course links page contains information on when and how to cite sources.

Grading:

Percentage Breakdown

Class Participation 10%

50 entry blog 15%

Midterm 15%

Final 10%

Cell phone cinema 20%

Final NYC performance/Presentation 30%

Total 100%

Final Grade Breakdown

90% and above = A

80% - 89% = B

70% - 79% = C

60% - 69% = D

59% -and below = F

*Grades are based on the instructor’s subjective evaluation of the students’ preparation, organization, effort, and improvement.

Class Policies

It is expected that students attend every class meeting and arrive on time. Students receive a “zero” on any regular assignment, and will receive a lowered grade on any major assignment when attendance becomes an issue. Three tardies are equivalent to one unexcused absence. Documentation of medical and family

emergencies is needed to excuse any absence.

School Policy In regards to Absences

We place high value on the active presence and participation of students in their classes. These are experiences that can occur in the context of a classroom environment. The following policy is a reflection of these values. You have 2 unexcused absences per letter grade detraction.

Class Conduct

Students are expected to turn off cell phones and all other electronic devices no food, gum, or drinks are allowed except water in a plastic container.

SCRIPT ANALYSIS

Script analysis is the number one way to increase productivity during rehearsals. It all hinges on the director looking at all aspects of the

play before stepping into the rehearsal space.

I. Given Circumstances

A. Environmental facts

1. Geographical location, including climate

2. Date: year, season, time of day

3. Economic environment

4. Political environment

5. Social environment

6. Religious environment

B. Previous Action -- underline all lines that refer to incidents that happened prior to the start of the play

C. Polar Attitudes -- the attitudes of the principal character as they are at the start of the play

II. Dialogue

A. Choice of words -- everyday or formal? long or short?

B. Choice of phrases and sentence structure

C. Choice of images -- does the character use images which

evoke emotion? visuals?

D. Choice of peculiar characteristics -- dialect?

E. The sound of the dialogue -- does the character use "hard"

sounding words or soft sounding?

F. Structure of lines and speeches -- how does it support

the delivery of the subtext?

III. Dramatic Action

Break down the play into workable units of action. Sometimes you can find a break where an entrance or exit occurs, while at other times it

is a change in subject. A one-act play typically has between 6-15 units, but not always.

A. Title the unites -- number the units in the scene or play and give a nominative phrase as a title for each unit

B. Verbing -- express the action of each line (speech) by using the initial of each character followed by a present tense verb.

Example: N pleads

C. Summary of the Action -- summarizes the action of each unit by following the number of the unit with a compound sentence

expressing the reciprocal action. Example: A (present tense verb)to B and B (present tense verb) to A.

IV. Characters

Treat each character under the following headings:

A. Desire -- what do they want most?

B. Will -- relative strength for obtaining the above

C. Moral Stance -- values, honesty, moral code

D. Decorum -- describe the physical appearance

E. Summary Adjectives -- summarize all of the categories above using only adjectives

V. Ideas

A. Meaning of the title -- what is the core meaning, or what is the play saying? Often an idea is expressed through a feeling -- what lies

subliminally beneath the feeling?

B. Philosophical statements in the play -- cite actual quotations found in the script. Pinpoint the line(s) that make direct reference to your

interpretation of it's meaning.

C. Implications of the action -- given circumstances and dramatic action, help unfold characters until the summit, or idea, is reached.

Determine how the characters' actions propel the play to the climax and ending. Consider how these actions are played in relationship to

what idea or conclusion you wish the audience to reach.

D. Consider each scene -- determine the purpose of each scene in the play. What idea is it trying to convey? How does it help the the

overall idea?

VI. Tempo

Look back on each unit you have created within the play and designate a rate of speed to it, e.g.: slow, medium, fast...Graph (like a

seismograph) the tempo of each unit. This way when you begin at rehearsal at unit 4, you will rehearse the scene at the correct tempo.

VII. Moods

After each unit, express the mood of the unit using an adjective.

Student Course Outcomes: When the student successfully completes the course, she or he will be able to:

1. Demonstrate an understanding and appreciation of the theatre as an expression of human creativity, reflecting the values of its

artists;

2. Demonstrate a basic knowledge of the theatre’s place in the history of Western culture, as it reflects the tendencies and values of

artists, audiences, and the larger society;

3. Demonstrate a basic understanding of the various styles, artists, and artistic methods involved (including their moral perspectives)

in the performing arts on stage, learning basic terminology, methods, and trends in the theatre;

4. Identify the principles of basic play analysis, including classifications of different types of plays, the parts of a play,

and close consideration of the moral choices made by characters;

5. Analyze the live performance of theatre in written and oral communication, including the artists’ purposes and the

choices of the characters;

6. Imagine and create, through the completion of a creative project, in which the student will make her or his own choices about how

to shape the work.

Each week will have a reading, class viewing, and discussion of the themes in the select play. The assignment is completed in the ‘cell phone cinema’, blog entry (which could be the cell phone cinema), vlog rant, or regular entry to the reading. Rants and cell phone cinema can be done in group of up to four persons.

6. Suggested Weekly Course Outline Including Typical Assignments

Week One

-Sophocles: Oedipus Rex (What ‘Chi’ drives society)

-Aristotle: Poetics (Structure your spectacle)

Drama and Theatre (Read Only)

Chapter 2: The Six Elements of Aristotle

Mid - Introduction To Course, Aristotle and the world of Ancient Greece, Drama as a tool for social discourse, Introduction to Aristotle's Poetics

End - Aristotle's Poetics

Week Two

Tuesday - Aristotle's Poetics, begin discussion of -Thais: Roswetha (Selling your pleasure)

Space, Time and Casuality

Getting the Great Idea and Turning It Into a Play

Week Three

-Thais: Roswetha (Selling your pleasure)

Dialogue

Structure

Week Four

-Shakespeare: Hamlet (Doubt the machine)

Great Beginnings

Great Middles

Week Five

-Chickamatsu: Double Suicide (Angry as Hell)

Theatre as a visual medium: Design as an expression of the themes of the play,

A Script Analysis

Week Six

-Moliere: Don Juan (There is no Hell to pay)

Great Endings

Term Paper - Draft One Due

Week Seven

-Ibsen: Pyr Gynt (Yuppie Hedonists on tour)

Week Eight

-Brecht: Mother Courage (Selling chaos)

Term Paper Returned to Students

Week Nine

-Beckett: Endgame (No truth, no meaning)

Week Ten

-Mamet: Glengarry, Glen Ross (Want to live in the machine)

Mid- Catch up, Final Exam review

Final Draft of Blog entries Due

Week Eleven

-Syd Field: The Screenplay (Structure your memes)

Week Twelve: Prep for NYC show.

Final Exam Week

Final show in New York City. This is mandatory.

Blogging on “Narratology’:

REMEMBER: You will blog with image, film, and writing. Writing is the sharpened, focused expression of thought and study. As you develop your writing skills, you will also improve your perceptions and increase your critical abilities. Writing ultimately boils down to the development of an idea. Your objective in writing a literary analysis essay is to convince the person reading your essay that you have supported the idea you are developing. Unlike ordinary conversation and classroom discussion, writing must stick with great determination to the specific point of development. This kind of writing demands tight organization and control. Therefore, your essay must have a central idea (thesis), it must have several paragraphs that grow systematically out of the central idea, and everything in it must be directly related to the central idea and must contribute to the reader’s understanding of that central idea. These three principles are listed again below:

1. Your essay must cover the topic you are writing about.

2. Your essay must have a central idea (stated in your thesis) that

governs its development.

3. Your essay must be organized so that every part contributes

something to the reader’s understanding of the central idea.

Writing/Graphic Intensive: X Yes __No

Methods of Instruction: X Lecture

X Discussion

_X_ Web-enhanced

__ Web-only

__ Other

Includes Lab: __Yes X No

- Learn about the aesthetic, moral, social, and cultural dimensions of human

experience needed for participation in the human community

7. Other

Syllabus distributed to students should employ the format approved by UCAP and must include:

- Instructor name, office hours, and contact information

- Office of Disability Services information

- Information on how grades will be determined

- Attendance policy

B. Course Objectives

Upon completion of this course, each student should be able to:

1. demonstrate an informed and intelligent understanding of both the discipline

and creativity involved in the various art forms of theatre

2. understand the relevance of the history of theatre to their present involvement

with theatre, and how theatre functions in society, both past and present

3. articulate thoughtful and informed analysis of theatrical texts and

performances

4. implement basic acting techniques and character development

5. be prepared for further study in the theatre arts.

6. Course Participation 15%

Class Participation

This will include observation role call, improvisation exercises, and

discussion of assigned readings. Due to the interactional nature of the

course, class attendance is important. Absence from more than two

classes will result in 0% for the participation portion of the grade, and

possible failure of the course. Late arrival for class will also become part

of the final class evaluation.

Reading Checks

During that section of the course where theatre texts will be read and

discussed in class, there will be a reading check question at the beginning

of each class. The question is designed merely to test if you have read the

play i.e. the question will be testing factual knowledge, not interpretive

knowledge.

COMPETENCIES:

SECTION I DISCOVERING THEATRE: THE BEGINNINGS

DESCRIBE WHAT IS THEATRE AND WHAT MAKES IT DIFFERENT FROM OTHER

ARTS.

1. Identify the two major groups that must come together for theatre to happen.

(knowledge)

2. Relate how recognizable events and places are created for theatre. (application)

3. State the origin and meaning of the word theatre. (knowledge)

4. Explain the three basic components of theatre. (comprehensive)

5. Illustrate how a performance is entertainment. (analysis)

6. Describe how theatre is DISCOVERY. (knowledge)

UNDERSTAND THEATRE AS A SEEING PLACE.

7. Identify the two essential components of theatrical space. (knowledge)

8. Distinguish how medieval theatre's fixed and processional stages relate to our own theatre practices. (comprehension)

9. Explain the fixed traditions of the Japanese Noh, Bunraku, and Kabuki theatres. (comprehension)

10. Illustrate how the modern open stage combines features of the Elizabethan theatre and the proscenium stage. (analysis)

UNDERSTAND NON-TRADITIONAL THEATRE SPACES.

11. Define environmental theatre. (knowledge)

12. Name the distinct elements of a performance. (knowledge)

13. Explain "poor theatre." (comprehension)

14. Point out solutions environmental directors have arrived at to discover the proper actor- audience relationship for each production. (analysis)

15. Describe the social and moral objectives of Grotowski's Laboratory Theatre. (knowledge)

SECTION II

EXPLAIN THE COLLABORATION OF DIVERSITY OF MODERN THEATRE

THROUGH THE PLAYWRIGHT.

16. Explain the meaning of the word playwright in its most literal sense. (knowledge)

17. Relate the playwright's function as a collaborator in the theatrical process. (application)

18. Name the playwright's tools for creating a fictional world. (knowledge)

19. Explain the artistic role of the director in the theatre. (knowledge)

20. Name six major director responsibilities. (knowledge)

21. Describe a director's promptbook. (knowledge)

theatre appreciation syllabus.

22. Relate the importance of auditions and casting. (analysis)

23. Identify what is meant by the play's spine. (analysis)

24. State the actor's external technique and relate an example. (knowledge and application)

25. Describe subtext. (knowledge)

26. Explain the purpose of dress rehearsal. (evaluation)

27. State the objectives of movement and voice training for the actor. (knowledge)

28. Break down how a designer studies a script. (analysis)

29. Summarize how a costume establishes aspects of character, social class, age, and

weather. (comprehension)

30. Differentiate between straight and character makeup. (analysis)

31. Explain how scenery, costume, lighting, and sound enhance the actors' work.

(evaluation)

32. Describe the producer's job in the commercial Broadway theatre. (knowledge)

33. Define option and angel. (knowledge)

34. Explain Actors' Equity Association and whom it represents. (comprehension)

35. Relate the purpose of an out-of-town tryout. (application)

36. Point out how producing Off-Off-Broadway differs from Broadway. (analysis)

SECTION III

RECOGNIZE THE PERSPECTIVES AND FORMS OF DRAMA.

37. Identify seven dramatic forms. (knowledge)

38. Explain Aristotle's understanding of tragedy. (comprehension)

39. List the subjects of comedy. (knowledge)

40. Demonstrate how tragicomedy combines elements of both comedy and tragedy.

(application)

41. Compare methods used to create an adaptation. (evaluation)

42. Explain Eugene Iovesio's definition of absurd. (synthesis)

43. Relate how farce fulfills our darkest wishes. (application)

44. State what is meant by alienation effect. (knowledge)

45. Define epic theatre. (knowledge)

SECTION IV

UNDERSTAND DRAMATIC STRUCTURE AND ASSOCIATED TERMINOLOGY OF

THEATRE.

46. Describe what constitutes dialogue. (knowledge)

47. Distinguish between children at play and theatre. (comprehension)

48. Distinguish between a play's actual time and its symbolic time. (analysis)

49. Illustrate differences between climactic, episodic and situational play structure.

(analysis)

50. Explain how crisis and climax are related. (comprehension)

51. Identify the function of double plot. (knowledge)

52. Explain happenings and talking pieces. (comprehension)

SECTION V

EXPLAIN THEATRE LANGUAGE AS A SPECIAL LANGUAGE TO ORGANIZE OUR

PERCEPTIONS OF IT.

53. Distinguish between verbal and nonverbal effects as used to reveal character.

(comprehension)

54. Define physicalization, sound-and-movement exercises, and character

transformation. (knowledge)

55. Identify two trends in language for the "new" theatre of the '60s. (analysis)

56. Explain the function of a soliloquy. (comprehension)

57. Relate what aspects of theatre language communicate meaning to an audience.

(evaluation)

SECTION VI

UNDERSTAND TOOLS FOR SEEING AND HEARING THE SCRIPT IN THE MIND'S

EYE.

58. Interpret the playwright's material three dimensionally. (evaluation)

59. Describe how pauses and silences are used for effect in the theatre. (knowledge)

60. Define style, realism, and theatricalism. (knowledge)

61. Relate a script to enactment through human activity, space, character, purpose,

organization, and performance style. (application)

62. Separate what the characters say to one another, as well as what they don't say.

(analysis)

63. Justify why the playwright has organized the incidents and events in the way that he or

she has done. (evaluation)

SECTION VII

DEVELOP CRITERIA FOR JUDGING A PERFORMANCE'S EFFECTIVENESS/PLAY

REVIEW.

64. Identify the essential differences between drama criticism and theatre criticism.

(analysis)

65. Name four main viewpoints that audiences bring to the theatre. (knowledge)

66. Explain how theatre entertains. (evaluation)

67. Describe theatre criticism as an economic force. (knowledge)

68. Explain in what ways general audiences become critics of the performances they see.

(evaluation)

This syllabus is subject to revision at the instructor's discretion and with prior

notification of the revision to the student.

VI. Evaluation Procedures.

(Please see accompanying Grade Accounting Sheet)

General Description

1. The testing in this class will include various objective test strategies

and essay responses. I often use the strategy of providing you with one of

two or three essay questions prior to the test that you will answer on the

day of the test. Take-home essay questions have also worked well in this

course in the past. Often, the objective portions are more useful for

knowledge of theatre architecture and historical practices and essays are

more useful in testing comprehension of playscripts--a generality, not a

rule.

2. The response assignments are to help you expand your thinking about

the plays. You will find that a map of a play must be precisely considered

to include significant and complex issues of a script. There are issues of

"right and wrong" within the response assignments, but the parameters are

fairly wide. Any assigned "creative" exercises have as their focus your

understanding of the script and not any previously acquired arts/crafts

skills.

3. Class participation means that you participate thoughtfully and

courteously. I will include unannounced quizzes, warm -up writing, etc.

under this heading. It is especially important to be prepared to talk in this

course. You should keep a note pad handy as you read the assigned plays

so you can write down questions as they come to you. If you wait until

you've finished the play to write your questions down, you will probably

forget most them. If it is a question for you, it is probably a question for

others. Asking it might help foster discussion and discussion is a good

thing.

4. The grading scales are listed on the grade accounting sheet. A project

for which you receive a letter grade is converted to a percentage and

weighted according to its value in determining your final grade. If you

receive a percentage grade, the chart at the top of the grade accounting

sheet can quickly show you your letter grade. That chart will be used in

determining your final letter grade. There is an example final grade

worked out on the back of the grade accounting sheet.

Official absences that carry written notification are excused

absences, all others are unexcused. Any exceptions must be discussed

with me privately as noted below. You have 2 "free" unexcused days to

miss class. There is no longer a "call-in-sick-to-student-life" policy

so visits to a local physician that occur during class time must be verified

in writing by the physician. If you have a protracted illness or have

difficulty getting to class to for any reason, please discuss it with me privately so we can make arrangements to accommodate your needs. The attendance policy is designed to help you chose to come to class rather than to "punish" those that have some genuine hardships in attending. If you have some continuing issue that might cause you to miss class, such as family matters, medical circumstances, etc., please discuss the matter with me prior to your absences. I do not like to give make-up exams, so I suggest that you sit with your class for each test. Any "pop quiz" type assessments cannot be made up, unless it was missed due to an official excused absence.

Academic Honesty

I will follow prescribed policy for dealing with a dishonest student. Proof of dishonest behavior, cheating and plagiarism can result in anything from failure on a specific assignment to expulsion from college. Don't cheat. It is embarrassing for you and for me.

Onward!

SCRIPT ANALYSIS

INTRODUCTION TO PLAYWRITING AND SCRIPT ANALYSIS: A HISTORY OF NARRATOLOGY.

THR 104-B Play Analysis

Aclose reading of several plays of different periods and

styles and a general examination of the elements out of

which all plays are made—dialogue, character, plot.

3credits3credits

Why do we like to ‘look at’ stories? Why do we like to experience them? Are there major differences between the ways we create and disseminate stories or do they all have the same ‘intent’? What made playwriting a favored form of communication? Is there something that remains in the form and content from early ritual theater and the Greeks down to this age of cell phones, You Tube, and iPods?

The answers to these questions are found in a serious study of how we send and receive the ‘dramatic’ message. In Greek society what did these dramatic messages do for a secular democratic society where the under class were largely illiterate? How did the ‘narratology’ of sender, message, and receiver change through the history of political/economic structures, environment/architecture, and technology and cognition? What do we look for when we ‘read’ a classic work of drama? How is this different from how it is staged with contemporary dramaturgy and interpretation and how is this different from seeing a DVD or Youtube version of that same ancient script? What endures in this society of rapidly changing mediums?

In this class we will read scripts, analyze them using a text and visual/movie blog, classroom discussion, and cell phones and ‘point-and-shoot’ digital cameras. We will present our findings in a final public performance event in New York City.

The overriding theme of all three of my classes and my independent research students is ‘Risk, Knowledge, Power, Fate’. Through the course work you are making a great piece of media, performance, film, interaction, 3-d work, essay, or exhibition to showcase in a famous venue in New York City. We usually find a time to do this at the end of the semester on Saturday afternoon. In the telematic age the new public is the old private: you must be able to articulate and present your given thoughts in the moment of your young development. Presentation and attendance of this event is mandatory and usually fun and enlightening.

The works:

-Oedipus Rex

-Aristotle: Poetics

-Thais: Roswetha

-Shakespeare: Hamlet

-Chickamatsu: Double Suicide

-Moliere: Don Juan

-Ibsen: Pyr Gynt

-Brecht: Mother Courage

-Beckett: Endgame

-Mamet: Glengarry, Glen Ross

-Syd Field: The Screenplay

Various critical reading on narratology and interpretation. Select film viewing.

The wireless seminar room and computer lab present the temptation of email and the web; therefore,

students must follow basic ground rules:

§ Students should switch off and stow their cell phones before class begins.

§ Students will not type when somebody is addressing the class.

§ Students will not text, check email, electronically chat, update their social networking status or surf the web during class, unless instructed to do so.

Lack of engagement in class activities, inadequate preparation, and failure to adhere to classroom rules will substantially lower your participation grade for the course.

Policies

Lateness Policy Since class preparation activities form the basis of in-class discussion, I will not accept these assignments late, nor will I allow students to reschedule their group presentations. Essays are due at the time indicated; work

submitted after the due date and time will be considered late. Late essays will receive a 10-point deduction per day late, including weekends and holidays. Please note that I will not accept late essay revisions, as such revisions are optional. I will make exceptions to the lateness policy only in cases of documented illness or

family emergency.

Technology glitches do not constitute valid excuses for lateness.

Plagiarism Policy

In your class preparation, presentation, and essays, you may draw upon the ideas and words of other writers. However, you must make clear to your audience that you are incorporating another’s work by placing quotation marks around exact words and citing the author’s name whenever you quote, summarize or paraphrase. Failure to credit sources may result in a failing grade for the assignment, a failing grade for the

course, or expulsion from the university. The course links page contains information on when and how to cite sources.

Grading:

Percentage Breakdown

Class Participation 10%

50 entry blog 15%

Midterm 15%

Final 10%

Cell phone cinema 20%

Final NYC performance/Presentation 30%

Total 100%

Final Grade Breakdown

90% and above = A

80% - 89% = B

70% - 79% = C

60% - 69% = D

59% -and below = F

*Grades are based on the instructor’s subjective evaluation of the students’ preparation, organization, effort, and improvement.

Class Policies

It is expected that students attend every class meeting and arrive on time. Students receive a “zero” on any regular assignment, and will receive a lowered grade on any major assignment when attendance becomes an issue. Three tardies are equivalent to one unexcused absence. Documentation of medical and family

emergencies is needed to excuse any absence.

School Policy In regards to Absences

We place high value on the active presence and participation of students in their classes. These are experiences that can occur in the context of a classroom environment. The following policy is a reflection of these values. You have 2 unexcused absences per letter grade detraction.

Class Conduct

Students are expected to turn off cell phones and all other electronic devices no food, gum, or drinks are allowed except water in a plastic container.

SCRIPT ANALYSIS

Script analysis is the number one way to increase productivity during rehearsals. It all hinges on the director looking at all aspects of the

play before stepping into the rehearsal space.

I. Given Circumstances

A. Environmental facts

1. Geographical location, including climate

2. Date: year, season, time of day

3. Economic environment

4. Political environment

5. Social environment

6. Religious environment

B. Previous Action -- underline all lines that refer to incidents that happened prior to the start of the play

C. Polar Attitudes -- the attitudes of the principal character as they are at the start of the play

II. Dialogue

A. Choice of words -- everyday or formal? long or short?

B. Choice of phrases and sentence structure

C. Choice of images -- does the character use images which

evoke emotion? visuals?

D. Choice of peculiar characteristics -- dialect?

E. The sound of the dialogue -- does the character use "hard"

sounding words or soft sounding?

F. Structure of lines and speeches -- how does it support

the delivery of the subtext?

III. Dramatic Action

Break down the play into workable units of action. Sometimes you can find a break where an entrance or exit occurs, while at other times it

is a change in subject. A one-act play typically has between 6-15 units, but not always.

A. Title the unites -- number the units in the scene or play and give a nominative phrase as a title for each unit

B. Verbing -- express the action of each line (speech) by using the initial of each character followed by a present tense verb.

Example: N pleads

C. Summary of the Action -- summarizes the action of each unit by following the number of the unit with a compound sentence

expressing the reciprocal action. Example: A (present tense verb)to B and B (present tense verb) to A.

IV. Characters

Treat each character under the following headings:

A. Desire -- what do they want most?

B. Will -- relative strength for obtaining the above

C. Moral Stance -- values, honesty, moral code

D. Decorum -- describe the physical appearance

E. Summary Adjectives -- summarize all of the categories above using only adjectives

V. Ideas

A. Meaning of the title -- what is the core meaning, or what is the play saying? Often an idea is expressed through a feeling -- what lies

subliminally beneath the feeling?

B. Philosophical statements in the play -- cite actual quotations found in the script. Pinpoint the line(s) that make direct reference to your

interpretation of it's meaning.

C. Implications of the action -- given circumstances and dramatic action, help unfold characters until the summit, or idea, is reached.

Determine how the characters' actions propel the play to the climax and ending. Consider how these actions are played in relationship to

what idea or conclusion you wish the audience to reach.

D. Consider each scene -- determine the purpose of each scene in the play. What idea is it trying to convey? How does it help the the

overall idea?

VI. Tempo

Look back on each unit you have created within the play and designate a rate of speed to it, e.g.: slow, medium, fast...Graph (like a

seismograph) the tempo of each unit. This way when you begin at rehearsal at unit 4, you will rehearse the scene at the correct tempo.

VII. Moods

After each unit, express the mood of the unit using an adjective.

Student Course Outcomes: When the student successfully completes the course, she or he will be able to:

1. Demonstrate an understanding and appreciation of the theatre as an expression of human creativity, reflecting the values of its

artists;

2. Demonstrate a basic knowledge of the theatre’s place in the history of Western culture, as it reflects the tendencies and values of

artists, audiences, and the larger society;

3. Demonstrate a basic understanding of the various styles, artists, and artistic methods involved (including their moral perspectives)

in the performing arts on stage, learning basic terminology, methods, and trends in the theatre;

4. Identify the principles of basic play analysis, including classifications of different types of plays, the parts of a play,

and close consideration of the moral choices made by characters;

5. Analyze the live performance of theatre in written and oral communication, including the artists’ purposes and the

choices of the characters;

6. Imagine and create, through the completion of a creative project, in which the student will make her or his own choices about how

to shape the work.

Each week will have a reading, class viewing, and discussion of the themes in the select play. The assignment is completed in the ‘cell phone cinema’, blog entry (which could be the cell phone cinema), vlog rant, or regular entry to the reading. Rants and cell phone cinema can be done in group of up to four persons.

6. Suggested Weekly Course Outline Including Typical Assignments

Week One

-Sophocles: Oedipus Rex (What ‘Chi’ drives society)

-Aristotle: Poetics (Structure your spectacle)

Drama and Theatre (Read Only)

Chapter 2: The Six Elements of Aristotle

Mid - Introduction To Course, Aristotle and the world of Ancient Greece, Drama as a tool for social discourse, Introduction to Aristotle's Poetics

End - Aristotle's Poetics

Week Two

Tuesday - Aristotle's Poetics, begin discussion of -Thais: Roswetha (Selling your pleasure)

Space, Time and Casuality

Getting the Great Idea and Turning It Into a Play

Week Three

-Thais: Roswetha (Selling your pleasure)

Dialogue

Structure

Week Four

-Shakespeare: Hamlet (Doubt the machine)

Great Beginnings

Great Middles

Week Five

-Chickamatsu: Double Suicide (Angry as Hell)

Theatre as a visual medium: Design as an expression of the themes of the play,

A Script Analysis

Week Six

-Moliere: Don Juan (There is no Hell to pay)

Great Endings

Term Paper - Draft One Due

Week Seven

-Ibsen: Pyr Gynt (Yuppie Hedonists on tour)

Week Eight

-Brecht: Mother Courage (Selling chaos)

Term Paper Returned to Students

Week Nine

-Beckett: Endgame (No truth, no meaning)

Week Ten

-Mamet: Glengarry, Glen Ross (Want to live in the machine)

Mid- Catch up, Final Exam review

Final Draft of Blog entries Due

Week Eleven

-Syd Field: The Screenplay (Structure your memes)

Week Twelve: Prep for NYC show.

Final Exam Week

Final show in New York City. This is mandatory.

Blogging on “Narratology’:

REMEMBER: You will blog with image, film, and writing. Writing is the sharpened, focused expression of thought and study. As you develop your writing skills, you will also improve your perceptions and increase your critical abilities. Writing ultimately boils down to the development of an idea. Your objective in writing a literary analysis essay is to convince the person reading your essay that you have supported the idea you are developing. Unlike ordinary conversation and classroom discussion, writing must stick with great determination to the specific point of development. This kind of writing demands tight organization and control. Therefore, your essay must have a central idea (thesis), it must have several paragraphs that grow systematically out of the central idea, and everything in it must be directly related to the central idea and must contribute to the reader’s understanding of that central idea. These three principles are listed again below:

1. Your essay must cover the topic you are writing about.

2. Your essay must have a central idea (stated in your thesis) that

governs its development.

3. Your essay must be organized so that every part contributes

something to the reader’s understanding of the central idea.

Writing/Graphic Intensive: X Yes __No

Methods of Instruction: X Lecture

X Discussion

_X_ Web-enhanced

__ Web-only

__ Other

Includes Lab: __Yes X No

- Learn about the aesthetic, moral, social, and cultural dimensions of human

experience needed for participation in the human community

7. Other

Syllabus distributed to students should employ the format approved by UCAP and must include:

- Instructor name, office hours, and contact information

- Office of Disability Services information

- Information on how grades will be determined

- Attendance policy

B. Course Objectives

Upon completion of this course, each student should be able to:

1. demonstrate an informed and intelligent understanding of both the discipline

and creativity involved in the various art forms of theatre

2. understand the relevance of the history of theatre to their present involvement

with theatre, and how theatre functions in society, both past and present

3. articulate thoughtful and informed analysis of theatrical texts and

performances

4. implement basic acting techniques and character development

5. be prepared for further study in the theatre arts.

6. Course Participation 15%

Class Participation

This will include observation role call, improvisation exercises, and

discussion of assigned readings. Due to the interactional nature of the

course, class attendance is important. Absence from more than two

classes will result in 0% for the participation portion of the grade, and

possible failure of the course. Late arrival for class will also become part

of the final class evaluation.

Reading Checks

During that section of the course where theatre texts will be read and

discussed in class, there will be a reading check question at the beginning

of each class. The question is designed merely to test if you have read the

play i.e. the question will be testing factual knowledge, not interpretive

knowledge.

COMPETENCIES:

SECTION I DISCOVERING THEATRE: THE BEGINNINGS

DESCRIBE WHAT IS THEATRE AND WHAT MAKES IT DIFFERENT FROM OTHER

ARTS.

1. Identify the two major groups that must come together for theatre to happen.

(knowledge)

2. Relate how recognizable events and places are created for theatre. (application)

3. State the origin and meaning of the word theatre. (knowledge)

4. Explain the three basic components of theatre. (comprehensive)

5. Illustrate how a performance is entertainment. (analysis)

6. Describe how theatre is DISCOVERY. (knowledge)

UNDERSTAND THEATRE AS A SEEING PLACE.

7. Identify the two essential components of theatrical space. (knowledge)

8. Distinguish how medieval theatre's fixed and processional stages relate to our own theatre practices. (comprehension)

9. Explain the fixed traditions of the Japanese Noh, Bunraku, and Kabuki theatres. (comprehension)

10. Illustrate how the modern open stage combines features of the Elizabethan theatre and the proscenium stage. (analysis)

UNDERSTAND NON-TRADITIONAL THEATRE SPACES.

11. Define environmental theatre. (knowledge)

12. Name the distinct elements of a performance. (knowledge)

13. Explain "poor theatre." (comprehension)

14. Point out solutions environmental directors have arrived at to discover the proper actor- audience relationship for each production. (analysis)

15. Describe the social and moral objectives of Grotowski's Laboratory Theatre. (knowledge)

SECTION II

EXPLAIN THE COLLABORATION OF DIVERSITY OF MODERN THEATRE

THROUGH THE PLAYWRIGHT.

16. Explain the meaning of the word playwright in its most literal sense. (knowledge)

17. Relate the playwright's function as a collaborator in the theatrical process. (application)

18. Name the playwright's tools for creating a fictional world. (knowledge)

19. Explain the artistic role of the director in the theatre. (knowledge)

20. Name six major director responsibilities. (knowledge)

21. Describe a director's promptbook. (knowledge)

theatre appreciation syllabus.

22. Relate the importance of auditions and casting. (analysis)

23. Identify what is meant by the play's spine. (analysis)

24. State the actor's external technique and relate an example. (knowledge and application)

25. Describe subtext. (knowledge)

26. Explain the purpose of dress rehearsal. (evaluation)

27. State the objectives of movement and voice training for the actor. (knowledge)

28. Break down how a designer studies a script. (analysis)

29. Summarize how a costume establishes aspects of character, social class, age, and

weather. (comprehension)

30. Differentiate between straight and character makeup. (analysis)

31. Explain how scenery, costume, lighting, and sound enhance the actors' work.

(evaluation)

32. Describe the producer's job in the commercial Broadway theatre. (knowledge)

33. Define option and angel. (knowledge)

34. Explain Actors' Equity Association and whom it represents. (comprehension)

35. Relate the purpose of an out-of-town tryout. (application)

36. Point out how producing Off-Off-Broadway differs from Broadway. (analysis)

SECTION III

RECOGNIZE THE PERSPECTIVES AND FORMS OF DRAMA.

37. Identify seven dramatic forms. (knowledge)

38. Explain Aristotle's understanding of tragedy. (comprehension)

39. List the subjects of comedy. (knowledge)

40. Demonstrate how tragicomedy combines elements of both comedy and tragedy.

(application)

41. Compare methods used to create an adaptation. (evaluation)

42. Explain Eugene Iovesio's definition of absurd. (synthesis)

43. Relate how farce fulfills our darkest wishes. (application)

44. State what is meant by alienation effect. (knowledge)

45. Define epic theatre. (knowledge)

SECTION IV

UNDERSTAND DRAMATIC STRUCTURE AND ASSOCIATED TERMINOLOGY OF

THEATRE.

46. Describe what constitutes dialogue. (knowledge)

47. Distinguish between children at play and theatre. (comprehension)

48. Distinguish between a play's actual time and its symbolic time. (analysis)

49. Illustrate differences between climactic, episodic and situational play structure.

(analysis)

50. Explain how crisis and climax are related. (comprehension)

51. Identify the function of double plot. (knowledge)

52. Explain happenings and talking pieces. (comprehension)

SECTION V

EXPLAIN THEATRE LANGUAGE AS A SPECIAL LANGUAGE TO ORGANIZE OUR

PERCEPTIONS OF IT.

53. Distinguish between verbal and nonverbal effects as used to reveal character.

(comprehension)

54. Define physicalization, sound-and-movement exercises, and character

transformation. (knowledge)

55. Identify two trends in language for the "new" theatre of the '60s. (analysis)

56. Explain the function of a soliloquy. (comprehension)

57. Relate what aspects of theatre language communicate meaning to an audience.

(evaluation)

SECTION VI

UNDERSTAND TOOLS FOR SEEING AND HEARING THE SCRIPT IN THE MIND'S

EYE.

58. Interpret the playwright's material three dimensionally. (evaluation)

59. Describe how pauses and silences are used for effect in the theatre. (knowledge)

60. Define style, realism, and theatricalism. (knowledge)

61. Relate a script to enactment through human activity, space, character, purpose,

organization, and performance style. (application)

62. Separate what the characters say to one another, as well as what they don't say.

(analysis)

63. Justify why the playwright has organized the incidents and events in the way that he or

she has done. (evaluation)

SECTION VII

DEVELOP CRITERIA FOR JUDGING A PERFORMANCE'S EFFECTIVENESS/PLAY

REVIEW.

64. Identify the essential differences between drama criticism and theatre criticism.

(analysis)

65. Name four main viewpoints that audiences bring to the theatre. (knowledge)

66. Explain how theatre entertains. (evaluation)

67. Describe theatre criticism as an economic force. (knowledge)

68. Explain in what ways general audiences become critics of the performances they see.

(evaluation)

This syllabus is subject to revision at the instructor's discretion and with prior

notification of the revision to the student.

VI. Evaluation Procedures.

(Please see accompanying Grade Accounting Sheet)

General Description

1. The testing in this class will include various objective test strategies

and essay responses. I often use the strategy of providing you with one of

two or three essay questions prior to the test that you will answer on the

day of the test. Take-home essay questions have also worked well in this

course in the past. Often, the objective portions are more useful for

knowledge of theatre architecture and historical practices and essays are

more useful in testing comprehension of playscripts--a generality, not a

rule.

2. The response assignments are to help you expand your thinking about

the plays. You will find that a map of a play must be precisely considered

to include significant and complex issues of a script. There are issues of

"right and wrong" within the response assignments, but the parameters are

fairly wide. Any assigned "creative" exercises have as their focus your

understanding of the script and not any previously acquired arts/crafts

skills.

3. Class participation means that you participate thoughtfully and

courteously. I will include unannounced quizzes, warm -up writing, etc.

under this heading. It is especially important to be prepared to talk in this

course. You should keep a note pad handy as you read the assigned plays

so you can write down questions as they come to you. If you wait until

you've finished the play to write your questions down, you will probably

forget most them. If it is a question for you, it is probably a question for

others. Asking it might help foster discussion and discussion is a good

thing.

4. The grading scales are listed on the grade accounting sheet. A project

for which you receive a letter grade is converted to a percentage and

weighted according to its value in determining your final grade. If you

receive a percentage grade, the chart at the top of the grade accounting

sheet can quickly show you your letter grade. That chart will be used in

determining your final letter grade. There is an example final grade

worked out on the back of the grade accounting sheet.

Official absences that carry written notification are excused

absences, all others are unexcused. Any exceptions must be discussed

with me privately as noted below. You have 2 "free" unexcused days to

miss class. There is no longer a "call-in-sick-to-student-life" policy

so visits to a local physician that occur during class time must be verified

in writing by the physician. If you have a protracted illness or have

difficulty getting to class to for any reason, please discuss it with me privately so we can make arrangements to accommodate your needs. The attendance policy is designed to help you chose to come to class rather than to "punish" those that have some genuine hardships in attending. If you have some continuing issue that might cause you to miss class, such as family matters, medical circumstances, etc., please discuss the matter with me prior to your absences. I do not like to give make-up exams, so I suggest that you sit with your class for each test. Any "pop quiz" type assessments cannot be made up, unless it was missed due to an official excused absence.

Academic Honesty

I will follow prescribed policy for dealing with a dishonest student. Proof of dishonest behavior, cheating and plagiarism can result in anything from failure on a specific assignment to expulsion from college. Don't cheat. It is embarrassing for you and for me.

Onward!