Theatre Arts 100
INTRODUCTION TO
THEATRE ARTS
Professor Mazer
Fall 2001
519 Annenberg Center, 8-7382 and 3-2659;
cmazer@english.upenn.edu
Office Hours: Tu
1:00-2:45; Th 10:30-11:45; and by appointment
September 6:
Introduction: What is Theatre?
September 11:
Theatre and Representation
Reading: Susanne K. Langer, “The Dynamic Image” and
“Creation,” from Problems of Art (bulkpack).
September 13:
Theatre and Representation (cont.)
Reading: Bernard Beckerman, “Imitation and
Presentation,” from Theatrical Presentation: Performer, Audience and Act (bulkpack).
[[REQUIRED THEATRE GOING:
Theatre Arts Program: The
Elektra Cabaret, September 13-15, Studio Theatre, Annenberg Center.]
[September 18: No
Class]
September 20:
Theatre in Performance I: The
Elektra Cabaret
September 25: Acting
and Behavior
Guest
Lecturer: Jim Schlatter, Theatre Arts.
Reading: Robert Cohen, “Playing the Situation: Out of the Self,” from Acting Power: An Introduction to Acting (bulkpack).
[September 27: No Class]
October 2: Acting
and Action
Reading: Bernard Beckerman, “The Theatrical Segment”
and “The Dramatic Segment,” pp. 44-64, from Dynamics of Drama: Theory and Method of Analysis
(bulkpack).
October 4: Action
and Character I
Reading: Arthur Schnitzler, La Ronde;
Beckerman, Dynamics of Drama, pp. 64-77 (bulkpack).
October 9: Action
and Character I (cont.)
Reading: La Ronde (cont.)
[APPROXIMATE DUE DATE:
FIRST TAKE-HOME ASSIGNMENT]
October 11: Action
and Character II
Reading: August Strindberg, Miss Julie (with
preface) (bulkpack); Bert O. States.
“The Anatomy of Dramatic Character” (bulkpack)
October 16: Action
and Character II (cont.)
Reading: Strindberg, Miss Julie (cont.)
October 18: Action
and Character III
Reading: Aristotle, The Poetics.
October 23:
Character, Action, and Place
Reading: Strindberg, Miss Julie (cont.); Una Chaudhuri, “Private Parts: Sex, Class, and Stage Space in Miss Julie”
(bulkpack).
October 25:
Character, Action, and Place
Guest
Lecturer: Peter Whinnery, Theatre Arts.
Reading: Strindberg, Miss Julie (cont.).
October 30:
Representation and Place
Reading: William Shakespeare, The Merchant of Venice;
Alan C. Dessen, “Shakespeare and the Theatrical Conventions of his Time”
(bulkpack).
November 1: Defining
the Audience:
Guest
Lecturer: Marcia Ferguson, Theatre
Arts.
Reading: Oscar Brockett, Chapter 6, “Redefining Theatre,” from Perspectives on
Contemporary Theatre (bulkpack); Washington Irving, “The Audience of the First
Park Theatre” (bulkpack).
November 6:
Language, Action, and the Actor
Reading: Shakespeare, The Merchant of Venice
(cont.); John Barton, “The Two Traditions” and “Using the Verse,” Playing
Shakespeare (bulkpack).
November 8: Music,
Action, and the Actor
Guest
Lecturer: David Fox, Theatre Arts.
November 13: Acting
Alternatives I: Presentation and
Ideology
Guest
Lecturer: Jim Schlatter, Theatre Arts
Reading: Essays by Bertolt Brecht: “The Modern Theatre is the Epic Theatre,”
“Theatre for Pleasure or Theatre for Instruction,” “Alienation Effects in
Chinese Acting,” “The Street Scene” and “A Short Organum for Theatre”
(bulkpack).
[APPROXIMATE DUE DATE:
SECOND TAKE-HOME ASSIGNMENT]
November 15:
Re-Defining the Audience:
Guest
Lecturer: Marcia Ferguson, Theatre
Arts.
Reading:
Susan Bennett, Chapter 2, “Theories of Reading and Viewing,” from Theatre
Audiences: A Theory of Production and Reception (bulkpack)
[REQUIRED THEATRE GOING:
Theatre Arts Program: The
Women, by Claire Booth, November 8-10, 15-17, Studio Theatre, Annenberg
Center.]
November 20: Theatre
in Performance II: The Women.
[Thanksgiving]
November 27:
Presentation and Ideology
Reading: Bertolt Brecht, Life of Galileo.
November 29: Acting
Alternatives II: Performance, Ideology,
and Gender
Guest
Lecturer: Rose Malague, Theatre Arts.
Reading: Gay Gibson Cima, “Strategies for Subverting
the Canon,” and Rhonda Blair, “‘Not...but’/‘Not-Not-Me’: Musings on Cross-Gender Performance,” from Upstaging
Big Daddy (bulkpack).
December 4: Acting
Alternatives III: Representing Others
Guest Lecturer: Rose Malague, Theatre Arts
Reading: Bert O. States, “The Actor's Presence: Three Phenomenal Modes” (bulkpack); “Anna
Deavere Smith: the Word Becomes You,”
an interview by Carol Martin (bulkpack).
December 6:
Conclusions: Script to Performance:
Reading: Shakespeare, The Merchant of Venice
(cont.).
In addition to the two take-home essays and the in-class
exercise, there is a choice of EITHER a final examination, at the date
scheduled by the registrar, OR a 12-15 page final term paper, on an open topic,
due FRIDAY, DECEMBER 14. ALL TERM PAPER
TOPICS MUST BE APPROVED BY ME BY TUESDAY, NOVEMBER 27. Late term papers will not be accepted; if
you cannot complete your paper by the deadline, you must take the exam.
Books (including La Ronde, The Merchant of Venice,
Aristotle's Poetics, and Life of Galileo) can be purchased at the
Penn Book Center (at 34th and Sansom Sts.); the Bulkpack can be purchased at
the Campus Copy Center, 39th and Walnut.
YOU ARE REQUIRED to see (and you will almost certainly be
asked to write about) productions and performances around the Philadelphia area
over the course of the semester, including productions in the Studio Theatre of
the Annenberg Center sponsored by the Theatre Arts Program, as noted on the
syllabus. Additional required
productions may be added over the course of the semester.
The listserv for this course is
mazer100@english.upenn.edu. You have
been subscribed automatically. If you
do not seem to be on it, or if you drop the course and wish to be unsubscribed,
please send a note to cmazer@english.
The syllabus for this course is available in electronic form at http://www.english.upenn.edu/~mazer/100f01.html. Make a bookmark on your web browser for this site. In addition, we will be using a web site for this course. Make a bookmark on your browser for http://courseweb.upenn.edu, and click on our course. If you are registered, you are automatically subscribed: your login will be your PennNet ID and your password is your PennNet password. CHECK THIS SITE DAILY. The web site will include daily announcements (including information about theatregoing assignments), and an electronic copy of the syllabus. The site also includes a discussion group, with access restricted to members of the course.