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SPRING SEMESTER 2014
COMM 4060-PERFORMANCE COMPOSITION
Instructor:Dr. Justin TrudeauTTH 2:00-3:20 GAB 321
Office:320B GAB
Office Hours:T, TH 10:00-11:30, and by appointment
Telephone:565-3526
E-mail:
COURSE DESCRIPTION: COMM 4360 builds upon your knowledge of analyzing and performing literature you acquired in COMM 2060 and other coursework. It is designed to address contemporary performance practices as critical and persuasive tools. The course provides you with opportunities to develop skills in reading, writing, analyzing, and performing a broad range of texts and to become better acquainted with how texts, particularly performance texts, can be composed.
REQUIRED TEXTS:
Scholes, Comley, and Ulmer, Text Book: Writing through Literature, 3rd ed. (New York: Bedford/St. Martin's Press, 2002).
COMM 4360 Course Packet(To be purchased at the COPYPRO COPY CENTER, located at 1300 W. Hickory St., right off of campus.)
REQUIRED ASSIGNMENTS:Performance #1:15%
Performance #2:15%
Performance #3:20%
7 Writing Exercises:25% 2Take Home Exams: 10% & 15%
DESCRIPTION OF THE ASSIGNMENTS
Performance #1:The first performance assignment focuses on the most common ways we compose our experiences and stories in everyday life and in popular culture texts that attempt to replicate everyday life. We also will be concerned with how we might compose a performance so as to “defamiliarize” the common forms and their effects. You'll have several options as regards the material you perform. It may be a collected natural narrative, a character contest, or a text that you defamiliarize in some way. Your text choice will determine whether you do a solo, duet, or small group performance. Regardless, I’ll expect the performance to run about 4-5 minutes (per person), and be well memorized and well rehearsed.
Performance #2: The second performance assignment concentrates on the less well-recognized ways we can (and do) compose our experiences in written and performance texts. Poetry and poetic models will serve as the source materials for the performance and I will ask that it include both verbal and non-verbal components. While I envision the assignment as a solo performance, I will consider duets. The performance should run about 5-6 minutes (per person) and, again, be well memorized and well rehearsed.
Performance #3: An autoperformance or “mystory”
The term autoperformance refers to one of the most common forms of performance occurring around the world in the past twenty to thirty years, a form of performance in which a single individual serves as the author-director-protagonist-performer of the piece. Autoperformance, then, alludes to another common artistic genre, autobiography, in which one writes the story of one's life.
In content, many autoperformances are explicitly about the person performing the material. In this case, however, we are interested in how one's self is enciphered through another subject– a person, place, or thing – that intrigues or fascinates the self. In this way, autoperformance becomes a site of performance where the individual is acknowledged, investigated and performed but always in relation to and in terms of some other subject.
In composition, autoperformances vary greatly: Some performers tell first-person anecdotes in a fairly realistic manner. Others assemble and perform a collection of images that are more abstract in style. Although you will have many optionsas regards how you compose your piece, generally you are asked to create a hybrid or multi-source work– one that reshapes and integrates diverse materials that you and others have composed or written.
Since the course as a whole is designed to help you put together your autoperformance in stages or increments, I won't burden you here with details. I only urge you to begin to consider a possible subject or two that intrigues you; a subject in which you find or locate an important part of yourself; a subject you would like to study.
I’ll expect the performance to run about 6-8 minutes and be very well memorized and prepared. You might consider it a "final exam" in so far as it should demonstrate your understanding of the material covered in the course.
Creative Writing Exercises:The creative writing exercises are designed to enhance your understanding of rhetorical texts and processes; specifically, how written and performance texts are composed and composed similarly. The exercises will ask you to read and analyze the works of others with the aim of using them as models, or guides, for composing your own creative texts. The performance assignments ask you to apply similar models and, in many cases, give you the option of performing the materials you have written.
In all, you are required to complete and turn in 7 creative writing exercises. If you complete the basic requirements and turn the exercise in on time, you will earn a "B” on the exercise. Incomplete or inaccurate work will earna "C" while late work will earn a "D" or lower. You will earn an “A” on the exercise if you complete the basics on time and, then, initially or at some point during the semester, you pursue the exercise further – e.g., by fine-tuning the piece or experimenting with variations on the exercise. When you turn in the revised copy of your writing exercise include the original as well. I will specify “A” possibilities in the handouts you receive.
Exams:The two exams will be short essay, take home exams that test you on your comprehension and application of the material covered in thecourse readings, handouts, in-class discussions, exercises, and performances. The first exam will consist of three questions and the second, four. If well organized, your answers to each question should run about 1 double-spaced, typed page (12 pt. font). Generally, I’ll be looking for accurate, specific, insightful, and concise answers. An accurate answer offers the correct information. A specific answer is well supported with pertinent examples. An insightful answer shows some careful thought on the writer’s part. A concise answer accomplishes the above in an efficient, well-organized manner.
COURSE POLICIES
Participation:
You are expected to arrive to class on time and not leave early. You are to have read and be
prepared to apply the assigned readings and handouts. I ask that you be attentive to the
comments andperformances of others, to participate in the in-class exercises, and to have a
cooperative attitudewhen working with others. You are to meet any appointments you might
make with yourclassmates or me. Lastly, you are expected to contribute to the general up keep
of the Black Box by picking-up after yourself on a daily basis.
Attendance:
Your attendance is necessary for participation in classroom activities that are an essential element of this class. You are granted two absences per semester other than scheduled performance days, which are required, after that your grade will be deducted by one full letter grade for any other day that you miss, followed by more grade deductions for other days missed. Performances will be given on the dates assigned. Failure to perform the assignments on the day assigned results with a maximum grade of a D…as in Don’t! Missed performance days when you are scheduled to be an audience member will result in an automatic deduction of one full letter grade for that round of performance.Excused absences are those that are verifiable as well as documented. .
GRADING SCALE AND RATIONALE
A- 90-100%Distinguished mastery, exceptionally well-prepared, creativity
B- 80-89%Good mastery, excellence in preparation, original application
C-70-79%Acceptable mastery, basic preparation, correct technique
D-60-69%Unsatisfactory grasp, incomplete assignments
F-0-59%Failure to complete the assignment during the scheduled time
Access Policy
We cooperate fully with the University’s Office of Disability Accommodation to provide reasonable accommodation to students who require it. Students who wish to self-identify should register with the ODA no later than the second day of class.
Policy on Incompletes
Per university policy, I will award grades of “Incomplete” only in cases where a student has completed 75% of the coursework AND the grade is warranted by a medical or military excuse. Inability to complete coursework in a timely fashion does not constitute an acceptable reason for requesting or receiving an incomplete.
COMM Library Copier Use Policy
Students conducting research in the Communication Studies Library associated with departmental coursework have access to a printer/photocopier located in the office adjacent to the library. We encourage students to make use of this resource to print research accessed online in the library or to copy essays from any of the department’s holdings. Students may not use this resource for other purposes, such as printing courses assignments, class notes, scripts, etc. Students who use the copier for uses other than those outlined above will lose copying privileges
Policy Regarding Written Work
All written work must be typed. I will evaluate your written work on style as well as content. The Publication Manual for the American Psychological Association is the style guide utilized by faculty and students in the Department of Communication Studies. The department web site includes an abbreviated guide to address the most common errors made by student writers. Consult the “Writing Guide for Student Papers” in the “undergraduate program” section of the department website.
Papers with 10 or more stylistic errors will be penalized 10 points, the equivalent of one letter grade.
Code of Student Conduct
Acceptable Student Behavior:
Student behavior that interferes with an instructor’s ability to conduct a class or other students' opportunity to learn is unacceptable and disruptive and will not be tolerated in any instructional forum at UNT. Students engaging in unacceptable behavior will be directed to leave the classroom and the instructor may refer the student to the Center for Student Rights and Responsibilities to consider whether the student's conduct violated the Code of Student Conduct. The university's expectations for student conduct apply to all instructional forums, including university and electronic classroom, labs, discussion groups, field trips, etc. The Code of Student Conduct can be found at
All persons shall adhere to the Code of Student Conduct regarding academic dishonesty, including acts of cheating and plagiarism.
All persons shall adhere to the Code of Student Conduct regarding academic dishonesty, including acts of cheating and plagiarism.
Cheating.
The willful giving or receiving of information in an unauthorized manner during an examination, illicitly obtaining examination questions in advance, using someone else’s work or written assignments as if they were your own, or any other dishonest means of attempting to fulfill a requirement of this course.
Plagiarism.
The use of an author’s words or ideas as if they were your own without giving proper credit to the source, including but not limited to failure to acknowledge a direct quotation.
Punishment for cheating or plagiarism range from a grade of “F” on the assignment in question to failure of the course.
Class Evaluation
The Student Evaluation of Teaching Effectiveness (SETE) is a requirement for all organized classes at UNT. This short survey will be made available to you at the end of the semester, providing you a chance to comment on how this class is taught. I am very interested in the feedback I get from students, as I work to continually improve my teaching. I consider the SETE to be an important part of your participation in this class.
Disclaimer
This syllabus should not be construed as a binding contract on the part of the instructor or teaching assistants. We reserve the right to change any aspect of the course without notice.
TENTATIVE COURSE CALENDAR
NOTE:A notation of read or due indicates that the assignment is due at the beginning of class that day
Week One
T, 1/14Introduction of Course. Introduction of Self.
Th, 1/16Overview of First Section
Read: in TB, pgs. 1-12 Packet: Performance Assignment
#1 and supplement on familiar forms and modes
Week Two
T, 1/21Anecdotes
Due: CWE #1
TH, 1/23Continue
Read: in TB, pgs. 13-21, 29-46
Week Three
T, 1/28Character ContestsRead: in TB, pgs. 29-46
TH, 1/30Continue
Week Four
T, 2/4Realistic Conventions
Read: in Packet: supplement on realistic conventions
DUE: CWE #2
TH, 2/6Continue
Week Five
T, 2/11DefamiliarizationRead: in TB, pgs. 57-61
TH, 2/13ContinueDUE: CWE #3
Week Six
T, 2/18Performance 1—Group 1
Read: Exam
TH, 2/20Performance 1—Group 2
Week Seven
T, 2/25Performance 1—Groups3 & 4
TH, 2/27Overview of 2nd section
Read: In packet, Performance Assignment #2
Week Eight
T, 3/4Metaphor
Read: in TB, pgs. 62-74 & 88-106
In packet, glossary and CWE #4 metaphor models
TH, 3/6Continue
DUE:CWE #4
Week Nine
T, 3/11Spring Break—No Class
TH, 3/13Spring Break—No Class
Week Ten
T, 3/18Metonym
Read: in TB, pgs. 142-149
In packet, CWE #5 metonym models
DUE: Exam #1
TH, 3/20ContinueDUE: CWE #5
Week Eleven
T, 3/25Chance
Read: in TB, pgs. 82-87
In packet, CWE #6 chance models
TH, 3/27ContinueDUE: CWE #6
Week Twelve
T, 4/1Continue—Introduction of Mystory
Read: Final Exam/Performance Assignment #3
TH, 4/3SSCA—No Class
Week Thirteen
T, 4/8Performance #2—Group 3
TH, 4/10Performance #2—Group 4
Week Fourteen
T, 4/15Performance #2—Groups 1 & 2
TH, 4/17Discuss 3rd Section
Read: in TB, pgs. 246-7, 262-82, 291-6
In Packet: packet for 3rd section
Week Fifteen
T, 4/22Inter-textual Approaches & Adaptations
Read: in TB, pgs. 150-61
DUE: Exam #2 and Final Writing Revisions
TH, 4/24Continue
DUE: CWE #7
Week Sixteen
T, 4/29Performance #3—Group 1
TH, 5/1Performance #3—Group 2
FINAL EXAMINATION WEEK
Thursday, May 8th
1:30-3:30 pm GAB 321
Performance #3—Groups 3 & 4
Final Grades Returned