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2007 updates [ see group/list + calendar ] + must subscribe, if in class!
Martyrdom: The only way a man can become famous without ability. -- George Bernard Shaw

Zero Year : Theatre in "Century 21" ? [ THR413 ] The Cambridge Companion to Beckett 0521424135 This book provides thirteen introductory essays on every aspect of the work of Samuel Beckett, paying particular attention to his most famous plays (e.g. Waiting for Godot and Endgame) and his prose fictions (e.g. the "trilogy" and Murphy). Further essays tackle his radio and television drama, his theater directing and his poetry, followed by more general issues such as Beckett's bilingualism and his relationship to the philosophers. A chronology of Beckett's life, a list of French and English titles and a list for further reading provide additional reference material.

Images of Beckett * 0521822580 *

SHOWS: 12th Night

(c)2004-2005 * 2007 class : title * notes * ps *


Play Analysis 10 (main) Points

1. First impressions: notes of reactions to play on initial reading, including images, colors (be personal).

2. Research: Summarize the most important insights you have gained from your research into your play. Discuss specifically how your research findings will influence your interpretation and/or production of the play. List sources consulted (in bibliographic form).

3. One-sentence statement of action (root action/significant action).

4. Structural Analysis: identify and briefly discuss inciting incident, each major complication (in order), major crisis (turning point), major structural climax, major emotional climax, resolution. Give enough detail in your analysis so that the reader can identify the point in the play that you are talking about and why you consider this the inciting incident, etc. For complications, note the effect of the complication on the action.

5. Brief discussion of theme. State theme clearly and support your choice of theme with evidence from the play.

6. Brief discussion of style of the play. What choices are you making about style for your production? Why?

7. Spine of the play--identify and discuss briefly.

8. Character Analysis--Biography, History (see

9. Motivational Units: Break your scene into motivational units and number/name the units. Present this portion of the analysis in promptbook format, with starting and ending points of each unit marked; unit analysis should be on page facing page of text.

10. Discuss any particular directorial problems posed by the play and the scene.

NOTES: biblio, references & ect.


* Glossary * Excellent!


2004 case study: The Taming of the Shrew + Oedipus Rex
THR215 DramLit
BECKETT'S GODOT: "A bundle of broken mirrors"

Existentialism is a philosophical movement that views the individual, the self, the individual's experience, and the uniqueness therein as the basis for understanding the nature of human existence. The philosophy generally reflects a belief in freedom and accepts the consequences of individual actions, while acknowledging the responsibility attendant to the making of choices. Existentialists prefer subjectivity, and can view human beings as subjects in an indifferent and often ambiguous universe.

This is a general list of existentialist writers: Edward Albee Georges Bataille Samuel Beckett Simone de Beauvoir Michel Butor Albert Camus Louis-Ferdinand Celine Marguerite Duras Ralph Ellison Fyodor Dostoevsky* Jean Genet Andre Gide Hermann Hesse Henrik Ibsen Eugčne Ionesco Franz Kafka Jack Kerouac Jerzy Kosinski Chuck Palahniuk Alain Robbe-Grillet Catherine Robbe-Grillet Natalie Sarraute Claude Simon Jean-Paul Sartre

Philosophers: Simone de Beauvoir * Nikolai Berdyaev * Henri Bergson Martin Heidegger (Like Camus, Heidegger rejected the label existentialist.) Karl Jaspers Hans Jonas * Sřren Kierkegaard (Kierkegaard died too early to be a part of the existentialist movement, and would have rejected many of the tenets of Sartrean existentialism, but was one of the first philosophers to deal with the problems of human existence in a way that is recognizably a forerunner to Sartrean existentialism.) Walter Kaufmann Ladislav Klíma Emmanuel Levinas Gabriel Marcel Maurice Merleau-Ponty * Friedrich Nietzsche (Like Kierkegaard, Nietzsche died too early to be a part of the existentialist movement, and in many ways differs from existentialism as we know it, but his work can be seen as a precursor to many of the developments in later existentialist thought.) Jean-Paul Sartre * Lev Shestov * Max Stirner Peter Wessel Zapffe

... [ * ] reference pages?

[ dir.txt ]

Part IV. Beckett & POMO

Happy Days (textbook) + Waiting fo Godot (online)

2005 Fall -- THR215 Dramatic Literature :

Part 1. Oedipus

Part 2. Hamlet

Part 3. Chekhov (Cherry Orchard) and High Modernism

Part 4. Postmodern: Beckett

Part 5. Writing

Main & 2005 THR215 * Antiquity I * Modern Times II * High Modern (Realism) III * Postmodern (Absurdism) IV * V *
Bedford Textbook INTRO to DRAMA (Fifth Edition 2005) 0312414412 p.1236 [ Happy Days, not Godot ... ]
I. II. III. IV. V.

Practical Points to Keep in Mind While Working with a Script
* Discovering structure in a script is discovering how each part fits with another into the whole and how each part serves some functional motive.
* Be wary of the "bright idea" analysis approach, reducing the play to one idea or metaphor instead of allowing it to be a complex, fragmented suggestion to the audience.
* Always keep conflict in mind - conflict is what is basic - drama is the process of resolving conflict and dramatic action is the play resolving itself.
* The important perception in dramatic analysis is seeing the conflict inherent in the play.
* Conflict creates characters, they grow out of the conflicts within the play. The desires, the wants, of the characters produce the spines of the characters.
* All elements in a dramatic production should exist to make the conflict visible in time and space.

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