WINONA STATE UNIVERSITY
REQUIRED CHECKLIST FOR ALL CURRICULAR PROPOSALS
Course or Program__ENG 423 Shakespeare in Performance______
This checklist enables A2C2 representatives to endorse that their departments have accurately followed the Process for Accomplishing Curricular Change. For each course or program proposal submitted to A2C2, this checklist must be completed, signed by the submitting department's A2C2 representative, and included with the proposal when forwarded for approval. Peer review of proposals is also strongly advised, e.g., departments should discuss and vote on the proposals as submitted to A2C2, rather than on just the ideas proposed or drafts of proposals.
If a proposal fails to follow or complete any aspect of the process, the Course and Program Proposal Subcommittee will postpone consideration of the proposal and return it to the department's A2C2 representative for completion and resubmission. Resubmitted proposals have the same status as newly submitted proposals.
Note: This form need not be completed for notifications.
1. The appropriate forms and the “Approval Form" have been completed in full for this proposal. All necessary or relevant descriptions, rationales, and notifications have been provided.
____X___ Completed
2a. The “Financial and Staffing Data Sheet" has been completed and is enclosed in this proposal, if applicable.
____X____ Completed ______NA
2b. For departments that have claimed that “existing staff" would be teaching the course proposed, an explanation has been enclosed in this proposal as to how existing staff will do this, e.g., what enrollment limits can be accommodated by existing staff. If no such explanation is enclosed, the department's representative is prepared to address A2C2's questions on this matter.
_____X___ Completed ______NA
3. Arrangements have been made so that a department representative knowledgeable of this proposal will be attending both the Course and Program Proposal Subcommittee meeting and the full A2C2 meeting at which this proposal is considered.
_____X___ Completed
Name and office phone number of proposal's representative: _Jane Carducci, 457 2376______
4. Reasonable attempts have been made to notify and reach agreements with all university units affected by this proposal. Units still opposing a proposal must submit their objections in writing before or during the Course and Program Proposal Subcommittee meeting at which this proposal is considered.
______Completed ____X____ NA
5. The course name and number is listed for each prerequisite involved in this proposal.
____X____ Completed ______NA
6. In this proposal for a new or revised program (major, minor, concentration, etc.), the list of prerequisites provided includes all the prerequisites of any proposed prerequisites. All such prerequisites of prerequisites are included in the total credit hour calculations. ______Completed ___X_____ NA
7. In this proposal for a new or revised program, the following information for each required or elective course is provided:
a. The course name and number.
b. A brief course description.
c. A brief statement explaining why the program should include the course.
______Completed ____X____ NA
8. This course or program revision proposal:
a. Clearly identifies each proposed change.
b. Displays the current requirements next to the proposed new requirements, for clear, easy comparison.
______Completed ____X____ NA
9. This course proposal provides publication dates for all works listed as course textbooks or references using a standard form of citation. Accessibility of the cited publications for use in this proposed course has been confirmed.
____X____ Completed ______NA
______
Department's A2C2 Representative or Alternate Date [Revised 9-05]
WINONA STATE UNIVERSITY
PROPOSAL FOR NEW COURSES
Department ______English______Date ___January 19, 2007______
Refer to Regulation 3-4, Policy for Changing the Curriculum, for complete information on submitting proposals for curricular changes.
____423______Shakespeare in Performance______3______
Course No. Course Name Credits
This proposal is for a(n) ___X___ Undergraduate Course ______Graduate Course
Applies to: ____X__ Major ___X___ Minor ______University Studies*
_____ Required _____ Required ______Not for USP
__X___ Elective ___X__ Elective
Prerequisites ___ENG 111, 290______
Grading method __X____ Grade only ______P/NC only ______Grade and P/NC Option
Frequency of offering __Every summer in conjunction with the Great River Shakespeare Festival______
*For University Studies Program course approval, the form Proposal for University Studies Courses must also be completed and submitted according to the instructions on that form.
Provide the following information:
A. Course Description
1. Catalog description.
2. Course outline of the major topics and subtopics (minimum of two-level outline).
3. Instructional methods utilized. Please indicate the contributions of lectures, laboratories, web-based materials, internships, and other instructional methods to this course.
4. Course requirements (papers, lab work, projects, etc.) and means of evaluation.
5. Course materials (textbook(s), articles, etc.).
6. List of references.
B. Rationale
1. Statement of the major focus and objectives of the course.
2. Specify how this new course contributes to the departmental curriculum.
3. Indicate any course(s) which may be dropped if this course is approved.
C. Impact of this Course on other Departments, Programs, Majors, or Minors
1. Does this course increase or decrease the total credits required by a major or minor of any other department? If so, which department(s)?
2. List the department(s), if any, which have been consulted about this proposal.
Attach a Financial and Staffing Data Sheet.
Attach an Approval Form with appropriate signatures.
Department Contact Person for this Proposal:
_Jane Carducci______457 ______
Name (please print) Phone e-mail address
Form Revised 4-13-05
New Course Proposal: English 423
Catalogue Description: This intensive, two-week course is based on careful reading and discussion of Shakespeare’s plays and their performances; the choice of plays for the class will be based on the offerings of the Great River Shakespeare Festival (GRSF).
Extra fees: 8$ each for two (2) Front Porch Talks= 16$
20$ each for two GRSF plays=40$
Total=56$ per student
Course Objectives: This is a performance-focused class, offering students the opportunity to study the texts of Shakespeare’s plays and then experience them in performance. More specifically, the goal is for students to join the community of Shakespeare fans as described by Herb Coursen:
We all share—in our different ways—the sentiment that Murph
Swander reports of a young woman in Texas after her first encounter
with Shakespeare. “This,” she said, “is the greatest thing that’s
happened to me since I’ve been saved!” Some of us might end-
stop at “me” in that sentence, and still count ourselves among the
blessed if not the saved.
Course Outline: (for example, if we are studying Shakespeare’s Comedies and Tragedies; the last week of July, the first week of August)
Front Porch Talk (Sunday Afternoon)
Part I
Monday: Introduction: Comedies/Midsummer Night’s Dream
Tuesday: Much Ado about Nothing
Wednesday: Merchant of Venice
Thursday: Twelfth Night
Friday: Twelfth Night
GRSF Performance 8:00 p.m. (Twelfth Night)
Talk Back after the performance
Front Porch Talk (Sunday Afternoon)
Part II
Monday: Introduction: Tragedies/Hamlet
Tuesday: Othello
Wednesday: Macbeth
Thursday: Romeo and Juliet
Friday: Romeo and Juliet
GRSF Performance 8:00 p.m. (Romeo and Juliet)
Talk Back after the performance
Saturday morning: a brief class meeting
Basic Instructional Plan/Methods:
The requirements for the class, including the readings and all writing assignments, need to be in the students’ hands by May 1 to give them time to complete all of the readings and get a solid start on their papers. The Research Paper is due several days after the last class meeting.
When we meet, the class will consist of
· Mini-lectures
· Class discussions
· Group work (Blocking exercises/psychodrama/presenting scenes)
· Guest Speakers (e.g., Directors and actors from the GRSF; Dr. David Bratt and Professor Peggy Sannerud from the WSU Drama Department)
· Attending and reviewing the GRSF Performances
· Film clips of plays
· Film nights to watch the whole play
· Films on acting/performance/Shakespearean verse
· Cultural/Historical background
· Biographical Information
· A consideration of various critical approaches to Shakespeare; emphasis on performance criticism
· Exams/quizzes
· Research paper
Course Requirements/Evaluation:
Translation of a poetic passage Midsummer Night’s Dream (into Modern English) 10%
Exam: Comedies 20%
Exam: Tragedies 20%
Review: Twelfth Night 10%
Review: Romeo and Juliet 10%
Research Paper 20%
Class participation/quizzes (cannot be made up) 10%
Attendance: Great River Shakespeare Festival
All of the above written requirements (except for the quizzes) and attendance at the Great River Shakespeare Festival must be completed in order to pass the class.
Text: David Bevington, Anne Marie Welch, Michael Greenwald. Shakespeare: Script, Stage, Screen. Longman, 2006.
References/Bibliography:
A Midsummer Night’s Dream
Barber, C. L. Shakespeare’s Festive Comedy. Princeton, 1959.
Greenwald, Michael L. “Broadway’s Theatre War of 1854: The Burton and Broadway
Productions of A Midsummer Night’s Dream.” Journal of American Drama and
Theatre 3:3 (Fall 1992): 5-17.
Halio, Jay. A Midsummer Night’s Dream (Shakespeare in Performance series).
Manchester, Eng., 1994.
Kott, Jan. “Shakespeare’s Bitter Arcadia.” Shakespeare Our Contemporary. New York:
1964.
Loney, Glen. Peter Brook’s Production of William Shakespeare’s “A Midsummer
Night’s Dream” for the Royal Shakespeare Company: The Complete and
Authorized Acting Edition. Stratford-upon-Avon, 1964.
Selbourne, David. The Making of “A Midsummer Night’s Dream.” London, 1982.
Warren, Roger. A Midsummer Night’s Dream: Text and Performance. London,
1982.
Watkins, Ronald, and Jeremy Lemmon. In Shakespeare’s Playhouse: “A Midsummer
Night’s Dream.” Totowa, N.J., 1974.
William, Gary Jay. Our Moonlight Revels: “A Midsummer Night’s Dream” in the
Theatre. Ames, Iowa, 1997.
Williamson, Marilyn. The Patriarchy of Shakespeare’s Comedies. Detroit, 1986.
Young, David. Something of Great Constancy: The Art of “A Midsummer Night’s
Dream.” New Haven, Conn., 1966.
Much Ado About Nothing
Cox, John D., ed. Plays in Performance: “Much Ado About Nothing.” Cambridge,
Eng., 1998. The First Night of “Twelfth Night.”
Findlay, Alsion. “Much Ado About Nothing.” A Companion to Shakespeare’s
Works: The Comedies. Oxford, 2003.
Mason, Pamela. Text and Performance: “Much Ado About Nothing.” London, 1992.
Paster, Gail Kern. “A Modern Perspective.” The New Folger Edition of Much Ado
About Nothing. New York, 1995.
Skovrmund, Michael. “Introduction with a Discussion on Branagh and Much Ado.”
Screen Shakespeare. Arhaud, Denmark, 1994. 7-12.
Wray Ramona, and Mark Thornton Burnett. “From the Horse’s Mouth: Branagh on
The Bard.” Shakespeare, Film, Fin de Siecle. Eds. Wray and Burnett. Houndmills
London, 2000. 165-178.
Merchant of Venice
Barton, John. Playing Shakespeare. London, 1984.
Buhler, Stephen M. Shakespeare in the Cinema: Ocular Proof. Albany, 2002.
Bulman, James. Shakespeare and Performance: “The Merchant of Venice.”
Manchester and New York, 1991.
Cusack, Sinead. “Portia in The Merchant of Venice.” Players of Shakespeare.
Vol. 1. Ed. Philip Brackbank. Cambridge, Eng., 1985. 29-40.
Edelman, Charles, ed. The Merchant of Venice. Cambridge, Eng., 2002.
Fiedler, Leslie. The Stranger in Shakespeare. New York, 1972.
Gilbert, Miriam. Shakespeare of Stratford: “The Merchant of Venice.” London,
2002.
Granville-Barker, Harley. Prefaces to Shakespeare: “The Merchant of Venice.”
London, 1993.
Jardine, Lisa. “Cultural Confusion and Shakespeare’s Learned Heroine: ‘These
Are Old Paradoxes.’” Shakespeare Quarterly 38 (1987): 1-18.
Leggatt, Alexander. “The Merchant of Venice: A Modern Perspective.” The New
Folger Library Shakespeare: The Merchant of Venice. New York, 2002.
Lelyveld, Toby. Shylock on the Stage. Cleveland, 1960.
Mahon, John and Ellen Macleod Mahon, eds. “The Merchant of Venice”: New
Critical Essays. New York and London, 2002.
Shapiro, James. Shakespeare and the Jews. New York, 1996.
Stewart, Patrick. “Shylock in The Merchant of Venice.” Players of Shakespeare,
Vol. 1. Ed. Philip Brockbank. Cambridge, 1985. 11-28.
Watermeier, Daniel. Between Actor and Critic: Selected Letters of Edmund Booth
And William Winter. Princeton, 1971.
Twelfth Night
Bloom, Harold. Shakespeare: The Invention of the Human. New York, 1998.
_____, ed. Modern Critical Interpretations of “Twelfth Night.” New York, 1987.
Bryant, J. A., Jr. Shakespeare and the Uses of Comedy. Lexington, Ky., 1986.
Hotson, Leslie. The First Night of “Twelfth Night.” New York: 1954.
Leech, Clifford. Twelfth Night and Shakespearean Comedy. Toronto, 1965.
Leggatt, Alexander. Shakespeare’s Comedies of Love. London and New York, 1974.
Mazur, Cary. Shakespeare Refashioned: Elizabethan Plays on Edwardian Stages. Ann
Arbor, Mich., 1981.
Osbourne, Lisa. The Trick of Singularity: The Performance Editions. Iowa City, Iowa,
1996.
Pearson, Hesketh. Beerbolm Tree. New York, 1956.
Potter, Lois. “Twelfth Night”: Text and Performance. London, 1985.
Trewin, J.C. Going to Shakespeare. London and Boston, 1978.
Hamlet
Alexander, Peter. Poison, Play, and Duel. Lincoln, Neb. 1971.
Barton, Anne. “Introduction.” Hamlet. Ed. T.J.B. Spencer. Hammondsworth, Eng.,
1980. 28.
Beasley, Catharine. “Was Hamlet a Man or a Woman? The Prince in the Graveyard,
1800-1920.” “Hamlet”: New Critical Essays. Ed. Arthur F. Kinney. New York
and London, 2002. 135-158.
Bradbrook, Muriel. Shakespeare the Craftsman. London. 1969.
Branagh, Kenneth. “Hamlet”: Screenplay, Introduction and Film Diary. New York,
1996.
Davidson, Levette. “Shakespeare in the Rockies.” Shakespeare Quarterly 4 (1953).
Greenblatt, Stephen. Will in the World: How Shakespeare Became Shakespeare. New
York, 2004.
Jenkins, Harold. “Introduction.” The Arden Shakespeare: Hamlet. London and New
York, 1982. 97-101.
Jones, Ernest. Hamlet and Oedipus. New York, 1949.
Maher, Mary. Modern Hamlets and their Soliloquies. Iowa City, Iowa, 2003.
Margolies, Eleanor. “Hamlet.” The Times Literary Supplement (July 7, 2000): 21.
Pennington, Michael. Hamlet: A User’s Guide. New York, 1996.
Righter, Anne. Shakespeare and the Idea of the Play. Oxford, 1962.
Rosenthal, Daniel. Shakespeare on Screen. London, 2000.
Rothwell, Kenneth. A History of Shakespeare on Screen: A Century of Film and
Television. Cambridge, Eng. 1999.
Wells, Stanley. Royal Shakespeare: Four Major Productions at Stratford-upon-Avon.
Manchester, Eng. 1977.
_____. Shakespeare For All Time. Oxford, 2002.
Othello
Booth, Lynda. “Grossly Gaping Viewers and Jonathan Miller’s Othello.” Shakespeare:
The Movie. Eds. Boose and Richard Burt. London and New York, 1997. 186-197.
Bradley, A.C. Shakespearean Tragedy. Vol. 2. Greenwich, Conn., 1965.
Greenblatt, Stephen. Will in the World: How Shakespeare Became Shakespeare. New
York and London, 2004.
Guilfoyle, Cheryl. “Mactacio Desdemonae: Medieval Scenic Form in the Last Scene of