JCU Logo

JOHN CABOT UNIVERSITY

COURSE CODE: "TH 340"
COURSE NAME: "Modern European Drama"
SEMESTER & YEAR: Spring Semester 2012
SYLLABUS

INSTRUCTOR: Connelly Daniel
EMAIL: [email protected]
HOURS: TTH 14:30-15:45
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisite: One previous course in English literature or permission of the instructor
OFFICE HOURS: TBA

COURSE DESCRIPTION:
This course aims to introduce students to a variety of dynamic theatrical forms prevalent in 20th-century European theatre. 
SUMMARY OF COURSE CONTENT:

From the height of realism and naturalism, to modernist innovations, this course will explore 20th-century European theatre.  We will focus on specific texts chosen to facilitate our understanding of how theatrical movements are generated through social, cultural, political and aesthetic context. 

Through a number of scheduled viewings, we will also examine how our selected plays transfer to screen.  In doing so, we will assess the ways in which theatre as a genre either loses or gains integrity as an art form through such cross-genre representation. 

The reading list is below.  I will place secondary texts on hold in the library.

Please be sure ONLY to purchase the version of the text indicated: 

1.  August Strindberg, Miss Julie (1888)
http://www.amazon.co.uk/Miss-Julie-Stronger-Frank-McGuinness/dp/0571205437/ref=sr_1_6?ie=UTF8&qid=1320324236&sr=8-62. 

2.  Henrik Ibsen, Hedda Gabler (1890)
http://www.amazon.co.uk/Hedda-Gabler-Methuen-Student-Editions/dp/0413770702/ref=sr_1_1?s=books&ie=UTF8&qid=1320324814&sr=1-1

3.  Anton Chekhov, Uncle Vanya (1900) http://www.amazon.co.uk/Uncle-Vanya-Methuen-Student-Editions/dp/0413774716/ref=sr_1_3?s=books&ie=UTF8&qid=1320324942&sr=1-3

4.  Bertolt Brecht, The Resistible Rise of Arturo Ui (1941) http://www.amazon.co.uk/Resistible-Rise-Arturo-Student-Editions/dp/0713685115/ref=sr_1_1?ie=UTF8&qid=1320924631&sr=8-1

5.  Samuel Beckett, Endgame (1957) http://www.amazon.co.uk/Endgame-Samuel-Beckett/dp/0571243738/ref=sr_1_1?s=books&ie=UTF8&qid=1320325490&sr=1-1

6.  Harold Pinter, The Homecoming (1964) http://www.amazon.co.uk/Homecoming-Harold-Pinter/dp/0571160808/ref=sr_1_1?s=books&ie=UTF8&qid=1320325603&sr=1-1

7.  Sarah Kane, Blasted; 4:48 Psychosis (1995; 2000) http://www.amazon.co.uk/Sarah-Kane-Contemporary-Dramatists-mPhaedras/dp/0413742601/ref=sr_1_1?s=books&ie=UTF8&qid=1320325671&sr=1-1




 

LEARNING OUTCOMES:

On completion of this course, students will have learned to:

distinguish between the immediacy of dramatic discourse and other fictive narrative modes;

apply a variety of theories and contexts to our selected theatrical movements;

analyze and articulate influential principles and emergent critical theories in written and spoken discourse;

critique and review both readings and viewings of drama;

refine their writing skills, which will include proofreading, editing and rewriting abilities.  

TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Miss JulieAugust StrindbergFaber and Faber0571205437  http://www.amazon.co.uk/Miss-Julie-Stronger-Frank-McGuinness/dp/0571205437/ref=sr_1_11?ie=UTF8&qid=1324380525&sr=8-11    
Hedda GablerHenrik IbsenMethuen Drama0413770702  http://www.amazon.co.uk/Hedda-Gabler-Methuen-Student-Editions/dp/0413770702/ref=sr_1_1?s=books&ie=UTF8&qid=1324380645&sr=1-1   
Uncle VanyaAnton CheckovMethuen Drama0413774716 http://www.amazon.co.uk/Uncle-Vanya-Methuen-Student-Editions/dp/0413774716/ref=sr_1_sc_2?s=books&ie=UTF8&qid=1324380760&sr=1-2-spell   
The Resistible Rise of Arturo Ui Bertolt BrechtMethuen Drama0713685115 http://www.amazon.co.uk/Resistible-Rise-Arturo-Student-Editions/dp/0713685115/ref=sr_1_2?s=books&ie=UTF8&qid=1324380832&sr=1-2   
EndgameSamuel BeckettFaber and Faber0571243738 http://www.amazon.co.uk/Endgame-Samuel-Beckett/dp/0571243738/ref=sr_1_1?s=books&ie=UTF8&qid=1324380946&sr=1-1   
The HomecomingHarold PinterFaber and Faber0571160808 http://www.amazon.co.uk/Homecoming-Harold-Pinter/dp/0571160808/ref=sr_1_1?s=books&ie=UTF8&qid=1324381043&sr=1-1   
Sarah Kane: Complete Plays: Blasted; Phaedra's Love; Cleansed; Crave; 4.48 Psychosis; Skin Sarah KaneMethuen Contemporary Dramatists 0413742601 http://www.amazon.co.uk/Sarah-Kane-Contemporary-Dramatists-mPhaedras/dp/0413742601/ref=sr_1_1?s=books&ie=UTF8&qid=1324381093&sr=1-1   
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
2 papers of 10 pages each = 20% / paper 40%
Final Paper = 30% 30%
Presentation = 10%  10%
Attendance and Input = 20%.  20%
   

-ASSESSMENT CRITERIA:

Assessment Guidelines for assigning main letter grades: A, B, C,D, and F.

A:  Work of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensiveknowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.

B:  This is highly competent level of performance and directly addresses the question or problem raised.

There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.

C:  This is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.

D:  This level of performances demonstrates that the student lacks a coherent grasp of the material.

Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.

F: This work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.


-ATTENDANCE REQUIREMENTS:
More than five absences will result in either a failing grade or a recommendation to withdraw from the course. 
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

JCU:  Spring 2012:  Modern European Drama: Professor Connelly

Schedule

Week 1:       Introduction:  What’s so Modern about Modern?

17 Jan:         Why here, why now?  Theatre’s 19th Century Context

19 Jan:         Why these plays?  Other selections:  Victorian Burlesques, Wilde’s The Importance of Being Earnest, Brecht’s Life of Galileo (exercise)

Week 2:       Strindberg’s Miss Julie

24 Jan:         Presentation #1:  The Meiningen Ensemble (1874-1890)

Realism and Naturalism

26 Jan:         Strindberg, Class and Power

Week 3:       Strindberg’s Miss Julie

31 Jan:         DVD:  Miss Julie (1999), dir. Mike Figgis

2 Feb:          DVD + Discussion

Week 4:       Ibsen’s Hedda Gabler

7 Feb:          Presentation #2:  The Dionysian and the Apollonian: Ibsen and Nietzsche

          Hedda vs Eilert

9 Feb:          Determinism.  Is she strong, is she weak?  Suffocating fathers

Week 5:       Ibsen’s Hedda Gabler

14 Feb:         DVD.  Hedda Gabler (1980), Yorkshire Television

PAPER 1 DUE IN CLASS

16 Feb:         DVD + Discussion

Week 6:       Chekhov’s Uncle Vanya

21 Feb:         Presentation #3, The Moscow Arts Theatre, Stanislavski and Chekhov

23 Feb:         Indolence, Hopelessness, Self-Indulgence

Week 7:       Chekhov’s Uncle Vanya

28 Feb:         DVD: Uncle Vanya (1962), dir. Stuart Burge

1 Mar:          DVD + Discussion

 

Week 8:       Brecht’s The Resistible Rise of Arturo Ui

6 Mar:          Presentation #4, Verfremdungseffekt in Brechtian Theatre

What is Epic Theatre?

8 Mar:          Theatrical Allegory.  Fascism.  Brecht’s Characterisations

Week 9        Brecht’s The Resistible Rise of Arturo Ui

13 Mar:        DVD:  The Three Penny Opera + The Life of Galileo

PAPER 2 DUE IN CLASS

15 Mar:        DVD + Discussion

Week 10:     Beckett’s Endgame

27 Mar:        Presentation #5, The Cuban Missile Crisis and the Bay of Pigs

Beckett, Absurdism, Minimalism

29 Mar:        Lecture:  Beckett and Nietzsche’s Eternal Recurrence

Week 11:     Beckett’s Endgame

3 Apr:          DVD: Endgame (2001), dir. Conor McPherson (84 min.)

5 Apr:          DVD + Discussion

Week 12:     Pinter’s The Homecoming

10 Apr:         Language as a Weapon of Mass Destruction

12 Apr:         Presentation # 6:  The Pinteresque, the beat, the pause, the silence

Week 13:     Pinter’s The Homecoming

17 Apr:         DVD:  The Homecoming (1973), dir. Peter Hall

19 Apr:         DVD + Discussion

Week 14:     Kane’s Blasted and 4:48 Psychosis

24 Apr:         Presentation #7: ‘In-yer-face theatre’

Blasted.   The Atrocity Exhibition + Edward Bond, Saved

26 Apr:         4:48 Psychosis. 

FINAL PAPER DUE IN CLASS

From you: 

Papers 1 and 2 = 20% per paper.  10 pages each on a choice of topics set by me.

Final Paper = 30%.  15 page research paper on a topic of your choice, in consultation with me. 

Presentation = 10%.  Do not cut and paste Wikipedia into a PowerPoint.  Do not read your presentation to us word for word.  I will not reward you for boring us.  Instead, delight us and instruct us.  Delve. Do not rely only on the internet.  Go to the library.  Pictures are good.  A lack of love is not good. 

Attendance and Input = 20%.  This is crucial to your success in the course.  You should come to the first class of each week having read the relevant play in its entirety.  I will also assign secondary readings as necessary.  Likewise, you should also have completed these. 

I will expect each of you to bring to class three discussion questions per text.  These will shape our learning.   I would also like you to e-mail me your questions before the 1st class of any new text. 

I expect you to come to every class and I will take a register to check on your attendance.  If you start to miss classes, I will suggest that you drop the course and / or will hand you a failing grade for the course. 

This course will present you with an intensely analytical learning experience with which you will become fully involved in class.  If you are faint of heart or workshy, you will be better off elsewhere. 

 

[email protected]