English 340 Modern Drama, Sec. 500
Dr. Katherine E. Kelly
Fall 1998
Ofc Hrs: 219C Blocker 2-3:30 TR, & by appointment
862-4368
kate-kelly@tamu.edu
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MODERN DRAMA: PLATFORM AND ART FORM
In this course, we will read a variety of works by some of the playwrights who have defined the movement called "Modern Drama" in late C19th and C20th Continental and U.S. culture. From its beginnings, Modern Drama organized its energies around two poles: "realism" and its associated desire to debate social and political problems, and "avant-garde" forms of representation, dedicated to modelling (and influencing) the complexities of human consciousness. These two ways of making theatre usually overlapped, as some of our readings will show, and they continue to inform the best dramatic work being done today. Warning: some of the material we will read contains explicit sexual situations and language; some material refers to racial controversy. If you are likely to be offended by this, please elect another course.
Class Policies. Attendance: Students are expected to be regular and active class members. Two unexcused absences over the term are permitted (not on dates when papers/exams are due). Each unexcused absence in excess of two will lower your final grade by a full grade. Grading: To pass the course, students must complete all work--every quiz, paper, etc. Grades will be computed as follows: (2) 5-page papers (25% each) or (1) 10-15 page research paper (50%); 4 tests (avg.) 40%); participation (10%)--come to class prepared; always bring the text; and contribute to discussions. Extra Credit: You can earn up to 10 points on a test grade by writing a play review of a local production using the guideline provided.
More about papers: All students are advised to use the Writing Center, which provides help for both strong and weak writers. You must make appointments ahead of time. You are encouraged to visit with me during office hours to go over any of the work or to discuss your papers. Papers are due at the start of class. They will be considered late if not turned in at the start of class and will be marked down 1/2 grade for each 24-hr. period thereafter (beginning at the start of class). Plagiarism (the unacknowledged borrowing of others' phrases, sentences, ideas, or partial or full papers) will be punished by a failing grade and referral to the appropriate student judicial committee. General: Students are advised to take detailed notes in class, to read all materials at least twice, and to consult me with ideas for your papers.
Required Reading: W. B. Worthen, Modern Drama: Plays, Criticism, Theory. New York: Harcourt Brace College Publishers, 1995. Recommended: A handbook of English usage (e.g. the St. Martin's Handbook; A Writer's Reference, 3rd ed. Lunsford and Connors; Harbrace College Handbook, current ed.). Journal notebook.
Disabilities: Anyone who needs accommodations related to a disability should see me immediately.
SYLLABUS
Week 1 Introduction to course
Sept 1-3 For Thurs., read Worthen "General Introduction" and "Intro. To Unit 1", pp. 1-21. For Tues., read Ibsen's Wild Duck. For Thurs., read entire "Casebook on Ibsen."
Week 2 Discuss Wild Duck & "Casebook on Ibsen".
Sept 8-10 Character and motivation: heredity & environment in
Ibsen's play. For next week, read Zola, pp. 1179-1182; 1186-1187.
Week 3 Discuss Ibsen and Zola. For Thurs., read Glaspell's
Trifles, pp. 205-212.
Sept 15-17 For next week, read Elizabeth Robins' Votes for Women
& "The Feministe Movement in England", pp. 172-204. Test #1 on Tues. Sept.
22.
Week 4 Test #1; discuss Robins' suffrage play: character,
motivation, and gender.
Sept 22-24 For next week, read Angelina Grimke's Rachel and essay
following, pp. 222-250.
Week 5 Discuss Rachel: character, motivation, gender, and race.
Paper #1 due Oct 6.
Sep 29-Oct 1 For next week, read Constantin Stanislavski,
"Direction and Acting" pp. 1148-52, and Pirandello's Six Characters in
Search of an Author, pp. 309-332.
Week 6 Discuss Pirandello's "Characters" and their motivation
with Stanislavski's ideas.
Oct 6-8 Papers due at start of class Tues. For next week,
Brecht's Galileo and pp. 392-96; 417-420. Test #2 on Thurs, Oct. 15.
Week 7 Discuss Brecht's epic theatre and Galileo. Test #2 on
Thurs., Oct. 15;
Oct 13-15 group work on Galileo next week.
Week 8 Brecht week. Group work and discussion. For next week,
read Raymond
Oct 20-22 Williams "Drama from Ibsen to Brecht," pp. 1170-78, and
Samuel Beckett's Endgame.
Week 9 Williams and Beckett. Making sense of Beckett. For next
week, read Harold
Oct 27-29 Pinter's The Homecoming & essay, "Writing for the
Theatre" pp. 575-600. Research paper prospectus due Tuesday, Nov. 3.
Week 10 Research paper prospecti due. Discuss Pinter. "The
Pinter Problem..."
Nov 3-5 Test #3 next Tues., Nov 10.
Week 11 Test #3 on Tues. For Thurs. read A. D. Smith's Fires in
the Mirror, pp. 1044-
Nov 10-12 1073; continue "Fires" next Tues.
Week 12 Anna Deavere Smith: platform/artform. NO CLASS on
Thursday, Nov 19.
Nov 17 "Fires" continued.
Week 13 Conclude Anna Deavere Smith. Thanksgiving holiday.
Nov 24 For next week, read Heiner Muller's Hamletmachine & "19
Answers...", pp. 824- 831. Test #4 on Thurs Dec 3.
Week 14 Heiner Muller, "neither a hope nor a dope dealer."
Dec 1-3 Tues discuss Muller; Thurs take Test #4.
Research papers, paper #2 due next Tues Dec 8.
Week 15 Papers due; conclusion.
Dec 8