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W.B. The Harcourt Brace Anthology of Drama.
13, 15, 17
on-line Project Gutenberg
3, 5, 7
10, 12, 14
17, 19, 21
24, 26, 28
3, 5, 7
24, 26, 28
21, 23, 25
28, 30, May 2
*These plays are
collected in the Harbrace anthology.
Some Secondary Criticism:
Brecht, Fanon, Sidney, Bakhtin, Boose, Stallybrass, Dryden, Frye, Gay, Maus, Zola, Barthes, Artaud, Esslin, Jameson, Miller, Steiner, Williams, Gates, Diamond, Aristotle, Nietzsche, Case
Description of Course
art provide instances of liberation or containment? We'll test the assumption
that the theatrical spectacle has the potential to critique the larger spectacle
of patriarchy, sexism/heterosexism, orthodox religion, racism, capitalism,
militarism, and other politically correct concerns, etc. by reading the
structure and effects, obsessions and pleasures, successes and
failures of selected plays and critical theory.
To that end both "traditional” and "contestatory" texts
are represented--categories we'll put into question as well. Consider ENG 285 as
an intensive introduction to and immersion in the nature of drama
in many of its forms ranging from classical Greek and Elizabethan tragedy,
Restoration Comedy, Grand Opera, Realist/Naturalist, Avant-Garde,
Feminist, Postmodern, Queer, and contemporary performance art.
We will begin with the religious and sacrificial origins of the theater
using Aristotle and Kenneth Burke and move to critiques of Aristotle by Brecht,
Miller, Case and others. We will
attend two performances as a class, one
“across campus," and one via
a field trip to Chicago, if funds are available from the Dean.
Our attention to performance will include analyzing filmed
versions of certain plays and the stylized use of camera, lighting, spatial
relationships, sound and editing in order to confer these directorial choices
into meaning. Comparing stage and screen versions will better advance our
inquiry into drama's ontological status.
Our attention to performance will include analyzing filmed versions of certain plays and the stylized use of camera, lighting, spatial relationships, sound and editing in order to confer these directorial choices into meaning. Comparing stage and screen versions will better advance our inquiry into drama's ontological status.
5 points In-class contributions
15 points Weekly WebBoard posts
20 Essay #1
5 points Contribute questions to MidTerm Examination
30 points MidTerm Examination
25 points 10-15 pp. research paper