*2007 Bedford : DramLit
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Hundreds of books and articles concerning the theatre reach publication every year in the United States alone, but only a tiny portion of that impressive output deals with one of the largest enterprises generated by the American stage: the teaching of theatre...
Bernard Beckerman * On Dramatic Literature
... From its very beginning, the study of dramatic literature was the study of play texts. Teachers assumed, so firmly that few thought to question the assumption, that the text was a stable entity, an object students could take for granted. This is not so any longer. Many teachers now realize that students must think not only of what they are reading but also of the relationship of their reading to both the process by which the text came into existence as well as the approach through which it could be given new life onstage. Faced with this array of possibilities, each teacher individually has to come to terms with the kind of authority found in a dramatic text. Whose work is it? What does it represent? The playwright's vision? Or the collective results of a theatrical enterprise? Most important of all, what do students as readers and prospective theatre workers owe it? Is it something they can freely manipulate? Or does it contain an idiosyncratic character that they must get to know?
Oscar Brockett On Theatre History :
Since the 1970s two views of theatre history have coexisted. One, the older and more established view, sees theatre history as a body of information (extending chronologically from the Greeks to the present) with which all theatre students should become familiar (at least in broad outline). It sees theatre history as being concerned primarily with knowledge -- as analogous to pure research. The second view sees theatre history as pertinent insofar as it serves the needs of specific productions -- as analogous to applied research. According to this second view, the script, the directorial approach, and the production team determine what historical information (theatrical, socioeconomic, political, religious, philosophical, etc.) is needed and pertinent. Neither of these views invalidates the other; they are complementary, representing as they do differing emphases: one is general and scholarly in orientation, the other is specific and practical in orientation.
The second view owes much to the growing interest in the dramaturge. The dramaturge's role has been an accepted part of German theatre since the eighteenth century, but it is only during the past two decades that it has been recognized in the United States. As yet, there is no clear agreement in America about the dramaturges role. It may include some or all of these functions: reading and evaluating new scripts; recommending plays for production; making or acquiring adaptations; assessing translations; collaborating in the formulation of a production concept; undertaking (or supervising) production (including historical) research; providing information for news releases and publicity; assembling material for the printed program supplied to audiences; writing essays about or related to specific productions; acting as in-house critic. The dramaturge, then, usually is an integral part of the production team. Theatre history is only one of his or her many concerns, most of which are more nearly related to criticism than to history. In fact, the dramaturges role requires the breaching of boundaries between a number of functions and areas of knowledge. Several theatre departments have altered their programs to provide training specifically for dramaturge.
[ Dramaturg Page @ Theatre Theory ]
Bedford : must have in each class!
"Reader Theatre" and "Stage Reading Techniques"
[ must refer to in your papers ]
Fall 2004 THR215 DramLit
[Preface for Instructors] website * http://bcs.bedfordstmartins.com/jacobus/default.asp
intro: Thinking about Drama
What Is Drama?
Drama and Ritual
Drama: The Illusion of Reality
Seeing a Play Onstage
Reading a Play
The Great Ages of Drama
Genres of Drama
Elements of Drama (Aristotle)
[Lady Gregory, The Rising of the Moon]
THR 215/413 Overview : DramLit & Playscript Analysis
first -- early modern age
RENAISSANCE DRAMA Italian Drama Elizabethan Drama Spanish Drama Renaissance Drama Timeline William Shakespeare, A Midsummer Night's Dream A Midsummer Night's Dream in Performance COMMENTARIES ON A MIDSUMMER NIGHT'S DREAM Enid Welsford, Masque Elements in A Midsummer Night's Dream Linda Bamber, On A Midsummer Night's Dream Peter Brook, The Play Is the Message . . . Clive Barnes, Review of A Midsummer Night's Dream Othello Othello in Performance COMMENTARIES ON OTHELLO A. C. Bradley, Othello's Character Virginia Mason Vaughan, Macready's Othello John Holstrom, Going It Alone: A Review of Olivier's Othello A CULTURAL CASEBOOK: The Issue of Race and Othello Sir John Mandeville, From Mandeville's Travels Richard Eden, From Decades of the New World Leo Africanus and John Pory, From A Geographical Historie of Africa G. K. Hunter, From "Othello and Color Prejudice" Margaret Webster, Shakespeare without Tears Ben Jonson, The Masque of Blackness The Masque of Blackness in Performance COMMENTARY ON JOHNSON Eldred Jones, Africa in English Masque and Pageantry
tragedy -- antiquity
GREEK DRAMA Origins of Greek Drama Genres of Greek Drama The Great Age of Greek Drama Greek Drama Timeline Sophocles, Oedipus Rex (translated by Dudley Fitts and Robert Fitzgerald) Oedipus Rex in Performance Commentaries on OEDIPUS REX Aristotle, Poetics: Comedy and Epic and Tragedy Sigmund Freud, The Oedipus Complex Claude Lévi-Strauss, From The Structural Study of Myth Antigone (translated by Dudley Fitts and Robert Fitzgerald) Antigone in Performance COMMENTARIES ON ANTIGONE Oliver Taplin, Emotion and Meaning in Greek Tragedy Jean Anouilh, From Antigone Aristophanes, Lysistrata (translated by Dudley Fitts) ROMAN DRAMA Indigenous Sources The Greek Influence The Roman Stage Roman Drama Timeline Roman Dramatists Plautus, Excerpt from The Twin Menaechmi (Act III) Terence, Excerpt from The Brothers (Act V) Seneca, Excerpt from Thyestes (Act V, Scene ii) MEDIEVAL DRAMA The Role of the Church Miracle Plays Mystery Plays Morality Plays The Medieval Stage The Actors Medieval Drama Timeline Hrosvitha, Dulcitius (translated by K. M. Wilson) Dulcitius in Performance COMMENTARIES ON HROSVITHA Marla Carlson, Reading Hrotsvit's Tormented Bodies Sue Ellen Case, Re-viewing Hrotsvit *Zeami Motokiyo, Lady Han (Hanjo) (edited and translated by Royall Tyler) Lady Han in Performance Everyman Everyman in Performance [ LATE SEVENTEENTH- AND EIGHTEENTH-CENTURY DRAMA The Restoration: Rebirth of Drama Theater on the Continent: Neoclassicism Theater in England: Restoration Comedy Late Seventeenth- and Eighteenth-Century Drama Timeline Molière, The Misanthrope (translated by Richard Wilbur) The Misanthrope in Performance COMMENTARY ON MOLIERE Lionel Gossman, Alceste's Love for Célimène *Chikamatsu Monzaemon, The Love Suicides at Sonezaki The Love Suicides at Sonezaki in Performannce A CROSS-CULTURAL CASEBOOK: Kabuki, J-oruri, and Bunraku Theater Jacob Raz, The Genroku Period -- The Golden Age Faubion Bowers, Return to the Puppets Tsuruo Ando, The Playwright Chikamatsu Donald H. Shively, The Development of Theater Buildings Earle Ernst, The Evolution of the Kabuki Stage Benito Ortolani, Background of Kabuki and J-oruri]
drama -- high modernism
NINETEENTH-CENTURY DRAMA THROUGH THE TURN OF THE TWENTIETH CENTURY Technical Innovations Romantic Drama Melodrama The Well-Made Play The Rise of Realism Nineteenth-Century Drama Timeline Naturalism : Henrik Ibsen, A Doll House (translated by Rolf Fjelde) A Doll House in Performance COMMENTARIES ON A DOLL HOUSE Henrik Ibsen, Notes for the Modern Tragedy Bernard Shaw, A Doll's House Muriel C. Bradbrook, A Doll's House: Ibsen the Moralist August Strindberg, Miss Julie (translated by Harry G. Carlson) Miss Julie in Performance COMMENTARY ON Strindberg August Strindberg, From the Preface to Miss Julie Oscar Wilde, The Importance of Being Earnest: A Trivial Comedy for Serious People The Importance of Being Earnest in Performance COMMENTARIES ON WILDE Peter Raby, An Unpublished Letter from Oscar Wilde on The Importance of Being Earnest Peter Raby, The Origins of The Importance of Being Earnest Anton Chekhov, The Cherry Orchard (translated by Ann Dunnigan) The Cherry Orchard in Performance COMMENTARIES ON CHEKHOV Anton Chekhov, From Letters of Anton Chekhov Maxim Gorky, From Recollections Virginia Woolf, On The Cherry Orchard John Corbin, Review of The Cherry Orchard Peter Brook, On Chekhov DRAMA IN THE EARLY AND MID-TWENTIETH CENTURY The Heritage of Realism Realism and Myth Myth and Culture Poetic Realism Social Realism Realism and Expressionism Antirealism Epic Theater Absurdist Drama Early and Mid-Twentieth Century Drama Timeline Susan Glaspell, Trifles Trifles in Performance COMMENTARY ON GLASPELL Christine Dymkowski, On the Edge: The Plays of Susan Glaspell Luigi Pirandello, Six Characters in Search of an Author: A Comedy in the Making (translated by Edward Storer) Six Characters in Search of an Author in Performance COMMENTARY ON PIRANDELLO John Corbin, Review of Six Characters in Search of an Author Eugene O'Neill, Desire under the Elms Bertolt Brecht, Mother Courage and Her Children: A Chronicle of the Thirty Years' War (translated by John Willett) Mother Courage in Performance COMMENTARIES ON BRECHT Bertolt Brecht, The Alienation Effect Bertolt Brecht, Notes for Mother Courage, Scene 12 Tennessee Williams, The Glass Menagerie The Glass Menagerie in Performance COMMENTARIES ON THE GLASS MENAGERIE Lewis Nichols, Review of The Glass Menagerie Donald Spoto, Laurette Taylor in The Glass Menagerie Benjamin Nelson, Problems in The Glass Menagerie Arthur Miller, Death of a Salesman Death of a Salesman in Performance COMMENTARIES ON MILLER Arthur Miller, In Memoriam Arthur Miller, Tragedy and the Common Man Michiko Kakutani, A Salesman Who Transcends Time *Samuel Beckett, Happy Days Happy Days in Performance COMMENTARIES ON BECKETT *Deirdre Bair, The French Production of Happy Days *Sidney Holman, Happy Days: Creation in Spite of Habit *Eugene Webb, On Happy Days Lorraine Hansberry, A Raisin in the Sun A Raisin in the Sun in Performance
Endgame -- postmodern
CONTEMPORARY DRAMA Experimentation Experimentation within the Tradition Contemporary Drama Timeline Athol Fugard, "MASTER HAROLD" . . . and the boys "MASTER HAROLD" . . . and the boys in Performance COMMENTARIES ON FUGARD Heinrich von Staden, Interview with Athol Fugard Athol Fugard, From Notebooks August Wilson, Fences Fences in Performance COMMENTARIES ON WILSON David Savran, Interview with August Wilson Frank Rich, Review of Fences Paula Vogel, How I Learned to Drive How I Learned to Drive in Performance COMMENTARIES ON VOGEL Christopher Bigsby, Paula Vogel David Savran, Paula Vogel Jill Dolan, Review of How I Learned to Drive *Suzan-Lori Parks, Topdog/Underdog Topdog/Underdog in Performance COMMENTARY ON PARKS *Joshua Wolf Shenk, Beyond a Black-and-White Lincoln *Nilo Cruz, Anna in the Tropics Anna in the Tropics in Performance COMMENTARY ON CRUZ *Christine Dolen, Anna in the Tropics Shines on Broadway Appendices Writing about Drama Why Write about Drama? Conventions in Writing Criticism about Drama Approaches to Criticism From Prewriting to Final Draft: A Sample Essay on The Rising of the Moon How to Write a Review Glossary of Dramatic Terms Selected Bibliography [biblio] Selected List of Film, Video, and Audiocassette Resources2005 Paperbound 900 pp. (approx.) ISBN 0–312–41439–0
The fullest complement of editorial features -- providing more resources for students.
* Writing about drama. Class-tested material offers coverage of every stage of the writing process, a complete student paper, and a section on writing a theater review.
* History of drama. The book also includes a general introduction to the great ages and the major genres of drama; introductions to the periods, plays, and playwrights that constitute a succinct but thorough history of Western drama; a performance history for each play; and a timeline for each period.
* Additional resources include a glossary of dramatic terms, selected bibliographies, and an annotated list of film, video, and audiocassette resources.
THR413 Playscript Analysis (2nd reqired textbook) -- Modern Theories of Drama: A Selection of Writings on Drama and Theatre 1850-1990
by George W. Brandt (Editor) 0198711395 Oxford University Press (November 1, 1998) 334 pages $41.12
2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North copyright. eCitations
© 2007 by vtheatre.net. Permission to link to this site is granted. books.google.com + scholar.google.com DRAMA Analysis amazon