TA 124 Survey of Dramatic Theory and Criticism
Spring, 2006
MWF 2:00-3:05
Voskuyl Library 216
Dr. John Blondell; extension 6778
Office Hours M 11-12 T/R 10-12
Overview and Purposes
Course Description: This course is an introduction to dramatic theory and criticism. It will explore the major theoretical trends and movements that have dominated intellectual discourse relevant to the drama and its representation on stage for over 2,500 years. In the course, we will explore the significant cultural paradigms that have characterized western thinking from the Greek to the Postmodern periods, and read representative plays that function as artifacts these periods of western culture. In addition, we will explore several classical and contemporary theoretical modes, including Aristotelian, Formalist, Materialist, and Phenomenological In this way, our study is largely theoretical and conceptual – we will not cast our interest on the direct making or experiencing of theatre and drama, but rather on how ideas about the drama and its making contribute to the history of ideas of western culture. Thus, we can begin to understand how drama – and the ideas that emerge from it – is not only a reflection of reality, but a significant agent in its making.
The dominant purposes of the course are as follows:
1) To become conversant with the major cultural paradigms that have informed western thought since the 5th century BCE in Greece.
2) To identify the major types of dramatic theory, and explain how major dramatic theories help elucidate the drama of representative periods.
3) To develop an understanding of the purposes of critical and theoretical discourse, and be able to outline the contribution of some of the major critics and theorists of western theatre and drama.
4) To develop the students’ own unique perspectives of drama and theatre, and the tools necessary for the discussion and expression of them.
Subjects and Assignments
M Jan 12Introduction to Course
W Jan 14The Classical World View – an introduction
F Jan 16The Classical World View, continued
Classic, Romantic, and Modern, pp. iv-57
M Jan 19No Class, Martin Luther King Holiday
W Jan 21Classic, Romantic, and Modern, pp. iv-57, continued
F Jan 23Phaedre, by Racine
M Jan 26Phaedre, by Racine
W Jan 28Romantic Art & Life
Classic, Romantic, and Modern, pp. 58-114
F Jan 30Romantic Art & Life, continued
Classic, Romantic, and Modern, pp. 58-114
M Feb 2Prometheus Unbound, Percy Bysshe Shelley
W Feb 4Prometheus Unbound, continued
F Feb 6Introduction to Modernism
M Feb 9The Modern Ego
Classic, Romantic, and Modern, pp. 115-154
W Feb 11Classic, Romantic, and Modern, pp. 115-154
F Feb 13Ubu Roi, by Alfred Jarry
M Feb 16No Class, President’s Holiday
W Feb 18Ubu Roi, by Alfred Jarry
F Feb 20Postmodernism
What is Postmodernism?, pp. 7-32
First Essay Due
M Feb 23Postmodern Play TBA
W Feb 25Postmodern Play TBA
F Feb 27Introduction to Dramatic Criticism
First Revision Due
M Mar 1Classical Criticism
The Poetics, Aristotle, pp. 51-90
W Mar 3The Poetics, Aristotle, pp. 51-90
F Mar 5Midterm Exam
M Mar 8The Art of Poetry, Horace, pp. 98-110
W Mar 10On Sublimity, Longinus, pp. 143-187
W Mar 12Prometheus Bound, by Aeschylus
M Mar 15No Class, Spring Recess
W Mar 17No Class, Spring Recess
F Mar 19No Class, Spring Recess
M Mar 22Formalism
Russian Formalist Criticism, pp. ix-57
W Mar 24Formalism
Russian Formalist Criticism, 61-95
F Mar 26Formalism
Russian Formalist Criticism, 99-139
M Mar 29The Politics of Representation
The Purpose of Playing, pp. 1-29
W Mar 31The Politics of Representation
The Purpose of Playing, pp. 30-75
F April2The Politics of Representation
The Purpose of Playing, pp. 76-105
M April 5The Politics of Representation
The Purpose of Playing, pp. 109-150
A Midsummer Night’s Dream
W April 7The Politics of Representation
The Purpose of Playing, pp. 151-178
A Midsummer Night’s Dream
Second Essay Due
F April 9No Class, Easter Recess
M April 12No Class, Easter Recess
W April 14The Politics of Representation
The Purpose of Playing, pp. 178-211
A Midsummer Night’s Dream
F April 16Phenomenology
Great Reckonings in Little Rooms, pp. 1-47
M April 19Phenomenology
Great Reckonings in Little Rooms, pp. 48-79
W April 21Phenomenology
Great Reckonings in Little Rooms, pp. 80-115
Second Revision Due
F April 23Phenomenology
Great Reckonings in Little Rooms, pp. 119-156
M April 26Phenomenology
Great Reckonings in Little Rooms, pp. 157-206
W April 28Swing Day
F April 30Final Discussion
Method of Assessment: 1 Exam – 20%
Class Participation – 20%
2 Presentations – 20%
2 Term Papers – 40%
Notes on Assignments
You are required to write two 12-14 page essays for this course. Sometime during the second week of the semester, you will be given 10-12 possible topics. One set of topics will ask you to explore a play in light of a particular cultural movement; another set will ask you to discuss a play or performance in light of a particular theoretical mode of thought. The first assignment will be due around midterm; the second assignment will be due a couple of weeks before the final.
Essays are due on the dates indicated. Students will receive a letter grade and specific feedback on work submitted, both in written and oral form. Students will use the feedback to prepare revisions of the essays, which are due on the dates indicated. At that time, more written feedback will be offered, and students have, as an option, the opportunity to continue revising their work. In other words, all students will revise each written assignment at least one time during the course of the semester, and may revise essays as many times as they wish, at least until the hour glass of the semester runs its course.
You are required to prepare two 15-20 minute presentations. One will be an introduction to a piece of theory we are exploring and discussing, and the other will be on one of the assigned plays, and its relationship to the cultural or dramatic theory in question.