INTRODUCTION TO THEATRICAL TECHNOLOGY: THE PERFORMANCE/MEDIA/EXHIBITION SPACE.
Theater as we have known it is dead. The space of the spectacle has killed it…not harsh economic times. Film, television, Cell phones, private DVD players, the internet based computer with programs like you tube, and a host of other telematic devices have sprung up ‘in its place’ and made the space where people collect publically to view a spectacle obsolete. But what were these spaces? Why were they so revered especially for a ‘secular narratology’? If we look harder within our own society we can still see these spaces of narrative spectacle. The dance club, the museum exhibition, the trade show, the rock concert…the class room…these are all spaces of spectacle and have a lot in common with the bona fide theater performance space. If we look at other venues within our society we see that spaces-interiors, piazzas, clubs- have resisted the collapse of information into the mobile computing. If we look close we even see that digital and performance forms have merged and morphed into combined forms that make this century very exciting for the present and future manifestations of ‘the performance/exhibition space. They call it a ‘mashup’.
From the history of the stage (from the Greek and the Asian forms of civic performance spaces) to the immersive, simulated, and virtual environments information and space continue their partnership. We will explore the past, current, and future forms of this partnership and explore how they affect our ideas of ‘narratology’, cognitive spaces, education, and entertainment. Why do we still like to view something spectacular with others? Through the projects, the modeling tools, and the study we will arrive at a study, fabrication, and final project of the total integrated media/performance space.
I work directly, creatively, and soundly to confront the challenges of combined media and combined culture in commerce, culture, and the physical and online spaces. What begins with very general and ‘global’ views of commercial and cultural challenges and prospects of such media as ‘the internet 2.0, retail space, branding of a product, locality, and city through display and events, I will then attack with very specific challenges with the workshop participants on an academic, industrial, and service commercial level. This is a very beautiful epoch in the history of human culture because of the confluence of telematic technologies and global participation within this. These are some of the fields of study (in addition to those of civic and pedagogical direction) that I have lectured, taught, and mentored in with both traditional analog means, composition, and digital/software means. We will use various computer programs such as Photoshop, Sketchup, and other 2-d and 3-d programs:
A study of the new performance/exhibition space will include these cultural and economic venue forms of:
-Human factors and usability
-High speed Internet 2.0 and the Metaweb.
-Architecture, landscape architecture, public immersive environments.
-’Gamming structure’, game theory, as a global lingua franca.
-Mobile computing and brick and mortar.
-Management and ‘creativity enhancement’.
-Interior architecture as interface.
-Lifestyle enhancement, travel and tourism, public enhancement.
-Personal dramaturgy
-Infoscape and narrative branding structure.
-Interactive public art.
-Retail design
-Event design
-Architecture
-Product design
-Graphic and web design
-Concert design, rock and roll, and scenography.
-Film premieres and openings
-Physical computing
-The body as game interface.
-Museum design
-Exhibition and trade/industrial design
-Branding in the environment
-Exhibitions crossing cultures
-Event management
-Public and private efforts at urban enhancement
-Tourism
-Distance education
-Scenography for dance, film, opera, theater.
-Infoscape design.
-Mobile computing and wifi zones
-Experience economy formats
1. Negative Space Project 10 points
2. Hand Drafted Views of Object 15 points
3. CAD Drafted Views of Object 15 points
4. Perspective Sketches 10 points
5. Set Sketches 20 points
6. Sound FX exercise 30 points
7. Building Sketches 10 points
8. Finished SKETCHUP MODEL 30 points
9. Dramatic Moments Exercise 10 points
10. Studies of Light and Dark 20 points
11. Poser Project 20 points
12. Lighting Plan Project 40 points
13. Notes from Meetings 20 points
15. Portfolio Presentation 80 points
Total Points Avail. 400
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.
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:
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. To avoid computer problems, you should save frequently while working, and you should back up work saved to a hard drive on memory stick or your Dante account. If you use a word processing program other than Microsoft Word, make sure to save in Rich Text Format to avoid file conversion problems.
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.
The works:
-Shakespeare: Hamlet
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.
*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 FOR THE SPACE OF SPECTACLE.
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
The total theater. The stage as a machine.
-Human factors and usability
-High speed Internet 2.0 and the Metaweb.
-Architecture, landscape architecture, public immersive environments.
Time/space and the performance machine.
Start blog. Get the Sketchup files.
THE STUDENT ASSIGNMENTS:
Objective: Skins and Maps
Week 1: Through the reading of the select Shakespeare play, drawing, com-
puter graphic work, model making, Begin assign-ment of specific city. Greek Drama, Shakespeare plays. Begin sketchbook, Bryce, photo-shop. Assign: all game types in. Intro to SKETCHUP
Week Two
-’Gamming structure’, game theory, as a global lingua franca.
-Mobile computing and brick and mortar.
-Management and ‘creativity enhancement’.
-Interior architecture as interface.
Space, Time and Casuality
Getting the Great Idea and Turning It Into a Play
Week 2, Greek Reading due. Integrate that with politics, ethics, religion, and society.
Present first idea of city Cosmology. First Map due.
Week Three
-Lifestyle enhancement, travel and tourism, public enhancement.
-Personal dramaturgy
-Infoscape and narrative branding, structure.
Week 3: Report lecture on who, what, why, when, how of the mil-lieu. College of first skin
due. College of Avatar due. Lacan and libido.
Structure
Week Four
-Interactive public art.
-Retail design
-Event design
-Architecture
Week 4: Present who, what, why, when, how. Architecture and visual composition. Integrate
that with politics, ethics, religion, and society. Architectural history and Map due.
Science fiction art direction: Carrara, Maya/BLENDER intro-diction. Into-grate game coding.
Week Five
-Product design
-Graphic and web design
-Concert design, rock and roll, and scenography.
-Film premieres and openings
Theatre as a visual medium: Design as an expression of the themes of the play,
A Script Analysis
Week 5: Midterm projected environment, NYC History of film art direction. Shakespeare
plays due. Converged history, society, economics, and ethics. All maps due. Frame com-
positions.
Week Six
Midterm
-Physical computing
-The body as game interface.
-Museum design
-Exhibition and trade/industrial design
Great Endings
Week 6: History of stenography. Mixing virtual and mobility due. Film art direction
assignment due. Maya, Carrara, sketch up. Modernist architecture. Art history. Architecture
and visual composition. Integrate those skins due. Science fiction art
Term Paper - Draft One Due
Week Seven
-Museum design
-Exhibition and trade/industrial design
-Branding in the environment
-Exhibitions crossing cultures
Week 7: Architecture and visual composition. Integrate that with politics, ethics, religion,
and society. Architectural history and Map due.
Science fiction art direction: Carrara, Maya intro-duct ion. Into-grate game coding.
Week Eight
-Event management
-Public and private efforts at urban enhancement
-Tourism
-Distance education
Week 8:
History of urban planning, history of recent scenog-raphy. Skills in the field.
History of the immersive environment.
Term Paper Returned to Students
Week Nine
-Scenography for dance, film, opera, theater.
-Infoscape design.
-Mobile computing and wifi zones
-Experience economy formats
Week 9:
History Game form and program-ming assemble convert-gent media-all content linked
together. Art direct-ed storyboard map due.
Week Ten
Work on the ‘total theater’. Finalize the idea for the NYC production.
Assemble emer-gent media film project due.
History of the immersive environ-ment.
Final Draft of Blog entries Due
Week Eleven
Work on the immersive environment.
History of arch and art history inter-active installations. Second game envi-
Week Twelve: Prep for NYC show.
Final Exam Week
Final show in New York City. This is mandatory.
All skins and maps collect-ed as a portfolio. Con-verging media with this.
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 OF CONTENT AND SPECTACLE.
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.
4
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.
5. Course revisions: number of playscripts read reduced from 14 to 10;
Greek section reduced and Indian and Japanese sections expanded;
inclusion of more Asian Theatre video material; increased number of unit
tests.
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.
GE Area: VI. College Component
Writing Intensive: X Yes __No
For WI Courses: X For all sections ___ Selected Sections are WI
Methods of Instruction: X Lecture
X Discussion
__ Web-enhanced
__ Web-only
__ Other
Includes Lab: __Yes X No
Prerequisites: None
2. Objectives
Program Objectives:
- Learn about the aesthetic, moral, social, and cultural dimensions of human
experience needed for participation in the human community
4. Suggested Methods of Evaluation
1) BLOG PAPER: Students will write 50 2 PARAGRAPH term paper applying one or several of the
methods discussed in class to a play or musical chosen from an approved list. Students will
provide an initial draft of the paper for evaluation and response by the instructor. Upon its
return, students will revise the paper for final grading.
2) EXAMS: Students will also take two essay exams (approximately 1000 words each)
discussing various topics related to the course material, applying the methods under
discussion
or ALTERNATE WRITING ASSIGNMENTS: Instructors may choose to have students write
several short papers (approximately 500 words each) on topics being covered in class,
discussing some of the supplementary materials, or discussing departmental productions
from the perspective of one of the analytical methods covered in class.
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