Theatre Arts 140 (Tentative)

Ethnicity and Gender on the American Stage

Dr. John Blondell

Spring 2012

MWF 11:30-12:35 Porter Hall 110 and 115 (Studio and Seminar Room)

Phone – 565-6778. E-mail:

Office Hours – M/W 2-4; T/R 10-11:50

Introduction

“…Now I want

Spirits to enforce, art to enchant;

And my ending is despair,

Unless I be relieved by prayer,

Which pierces so that it assaults

Mercy itself and frees all faults.

--The Tempest, Epilogue, William Shakespeare

From the earliest moments of human history, people have represented the joys and vicissitudes of human life through literature, theatre, dance, painting, sculpture, and music. Though the various literary and artistic forms have diverse purposes, they share the potential to deepen and enliven people’s understanding of what it means to be human, and offer distinctive insights into how people formulate, make sense of, and at times challenge the nature and shape of reality. According to the quote from The Tempest found above, Shakespeare believes that aesthetic enjoyment is necessary to the human spirit. Located at the end of his last play, the speech can be thought of as a kind of “last word” regarding what Shakespeare finds important about life. Like Shakespeare, Westmont believes that the literary, performing, and plastic arts are important to a fully rounded educational experience. In the Theatre Arts Department, we believe that the study of Theatre and Drama is a sure way to become more lively, sensitive, and expressive individuals, while becoming conversant in the history, theory, and practice of the field. Finally – but significantly – aesthetic enjoyment is one way that people participate in the ongoing process of Creation, and receive the innumerable gifts that stream from God.

American Moment, American Voices

This course satisfies the Performing and Interpreting the Arts component of Westmont’s General Education program. The course focuses on, and explores various ways, that representative 20th and 21st century American writers confront issues of ethnicity and gender in plays written for American playing, presentation, and reception. Where several of the department’s courses focus on the past, or at least use past traditions and structures to tell us something about contemporary American art and culture, this course looks at the present moment, and the various voices that shape and reflect American perspectives on contemporary American culture. Taught from a Christian perspective, the assembled plays question, probe, and disclose various views of American identity, shaped by ethnic influences and gender roles.

The course has two central components. One component includes reading, discussion, and writing about the central subject, as it is tackled by some of the country’s most significant dramatists. The other component involves a creative and performative element, where students encounter and embody “the other” through collaborative research and performance projects. Both components, in different ways, develop sympathy, humility, and compassion as called to by scripture. Ultimately, the purpose of the course is to develop students’ knowledge and experience of American ethnic and gender identities, as represented by the art of the stage, and become more conversant in the issues, problems, challenges that animate much of American thought and art.

Outcomes

Using Anna Deveare Smith’s Twight: Los Angeles, students will research, create, and present a performance centered on ethnicity and gender issues.

Students will explain the importance of gender and ethnic issues in plays by 20th and 21st century American dramatists.

Readings

The reading and performance list for the course includes the following plays:

Trifles, by Susan Glaspell

Machinal, by Sophie Treadwell

The Emperor Jones, by Eugene O’Neill

Twilight: Los Angeles, by Anna Deveare Smith

Fire in the Mirror, by Anna Deveare Smith

Oleanna, by David Mamet

How I Learned to Drive, by Paula Vogel

36 Views, by Naomi Iizuka

Fences, August Wilson

Topdog/Underdog, Susan Lori Parks

Anna of the Tropics, Nilo Cruz

The Double Helix, Tony Kushner

Assignments and Readings

M Jan 9Introduction to the Course,

W Jan 11Trifles, Susan Glaspell

F Jan 13Trifles, Susan Glaspell

M Jan 16No Class, Martin Luther King Holiday

T Jan 17Machinal, Sophie Treadwell

W Jan 18Machinal, Sophie Treadwell

F Jan 20The Emperor Jones, Eugene O’Neill

M Jan 23The Emperor Jones, Eugene O’Neill

W Jan 25Scenes: Glaspell, Treadwell, O’Neill

F Jan 27Discuss Scenes

M Jan 30Introduce Research Performance Project

W Feb 1Twilight: Los Angeles, Anna Deveare Smith

F Feb 3Twilight: Los Angeles, Anna Deveare Smith

M Feb 6Fire in the Mirror, Anna Deveare Smith

W Feb 8Fire in the Mirror, Anna Deveare Smith

F Feb 10Rehearse Piece

M Feb 13Rehearse Piece

W Feb 15Rehearse Piece

F Feb 17Rehearse Piece

M Feb 20No Class, President’s Holiday

W Feb 22Rehearse Piece

F Feb 24Rehearse Piece

M Feb 27Rehearse Piece

T Feb 28Perform: The Edge: Ethnicity and Gender in SB

W Mar 29Discuss Project

F Mar 2Oleanna, David Mamet

M Mar 5 Oleanna, David Mamet

W Mar 7How I Learned to Drive, Paula Vogel

F Mar 9How I Learned to Drive, Paula Vogel

M Mar 12No Class, Spring Holiday

W Mar 14No Class, Spring Holiday

F Mar 16No Class, Spring Holiday

M Mar 1936 Views, Naomi Iizuka

W Mar 2136 Views, Naomi Iizuka

F Mar 23Scenes: Mamet, Vogel, Iizuka

M Mar 26Discuss Scenes

W Mar 28Fences, August Wilson

F Mar 30Fences, August Wilson

M Apr 2Topdog/Underdog, Susan Lori Parks

W Apr 4Topdog/Underdog, Susan Lori Parks

F Apr 6Easter Holiday

M Apr 9Easter Holiday

W Apr 11Anna of the Tropics, Nilo Cruz

F Apr 13Anna of the Tropics, Nilo Cruz

M Apr 16The Double Helix, Tony Kushner

W Apr 18The Double Helix, Tony Kushner

F Apr 20Scenes: Wilson, Parks, Cruz, Kushner

M Apr 23Discuss Scenes

W Apr 25Final Discussion

Final Exam:

Notes on Assignments:

Note: Westmont has identified eight important goals as foundational for our work as a college. These standards include Christian Understanding, Diversity and Global Awareness, Critical and Interdisciplinary Thinking, Competence in Written and Oral Communication, Active Societal and Intellectual Engagement, Research and Information Literacy, Physical and Emotional Health, and Creative Expression. It has also created a rigorous General Education program that is intended to foster intellectual vitality, Christian character, and commitment to service that will last a lifetime. The General Education program is comprised of a range of courses intended to develop and explore expertise in a variety of different disciplines and methods of inquiry.

This course satisfies what Westmont has described as one of the “Common Inquires” of its General Education program – Performing and Interpreting the Arts. According to the Westmont catalogue, “Courses satisfying this requirement develop students’ understanding of the fine arts and performing arts, including music, visual arts, theatre, or dance. Such courses develop and expand perceptual faculties, develop physical practices integral to the art form, and explore critical principles which guide artists in the area.”

Requirements

There are three major requirements for the course. Grade percentages are as follows.

Midterm Project30%

Scene Work20%

Two Five-page Essays20%

Final Exam20%

Class Participation10%

Midterm Research Performance Project:

At midterm, students will perform an original piece of theater, generated by students through an interview process with Santa Barbara residents. Using the work of Anna Deveare Smith as model and inspiration, students will conduct a series of interviews in which they collect stories for ultimate theatrical performance. Students will then create a piece of original theatre, whereby they enact stories collected through and by the interview process. The performance will be held one-time only, for an invited audience, in the new space in Porter Theatre.

Scene Work:

Students will prepare, rehearse, and perform one scene from representative plays studied through the semester. Performances of scenes occur three times during the course of the semester, January 25, March 23, and April 20

Essays:

There are two 5-page essays required for the course. The first essay focuses on issues of gender and ethnicity, emerging from plays from the early 20th century – Trifles, Machinal, and The Emperor Jones. The second essay focuses on issues of gender and ethnicity, emerging from plays from the late 20th and early 21st century, and include How I Learned to Drive, 36 Views, Fences, or Anna of the Tropics.

Final Word:

Our work this semester brings together two kinds of knowledge – that developed cognitively through conversation, lecture, discussion, reading, and study; and the other developed experientially through scene work and the creation of an original piece of theatre. The purpose is to develop awareness, knowledge, and sensitivity, and to be able to discuss and identify important issues in gender and ethnicity, and to encounter those issues directly, through enactment and embodiment. I am very excited for this course, and look forward to working with you on it very much.

Notes and Policies:

Students who have been diagnosed with a disability (learning, physical or psychological) are strongly encouraged to contact the Disability Services office as early as possible to discuss appropriate accommodations for this course. Formal accommodations will only be granted for students whose disabilities have been verified by the Disability Services office. These accommodations may be necessary to ensure your full participation and the successful completion of this course. Please contact Sheri Noble, Interim Coordinator of Disability Services (x6186, ) as soon as possible.

Essays are due on the dates indicated. There will be no exceptions to this policy.

Attendance Policy: Students are allowed a total of three (3) unexcused absences for the semester. 4 unexcused absences will result in failure of the “Class Participation” portion of your grade. 5 unexcused absences will result in failure in the course.