Theatre
Arts 274
DRAMATURGY
Professor
Mazer
Spring
2016
519
Annenberg Center, 3-2659; cmazer@english.upenn.edu
Office
Hours: Tuesdays and Thursdays
1:30-2:30, and by appointment
THERE
IS NO SYLLABUS, PER SE, FOR THIS COURSE; the course is not organized on a tight
schedule of weekly readings and occasional writing assignments. Rather, there will be regular in-class
discussions of ongoing topics through the semester, with some of them cued to
specific readings; and there will be regular assignments of succinct oral
presentations (since much of the dramaturgÕs work in the theatre involves
making succinct and persuasive oral presentations). Some of the presentations will be
individual; other assignments may be
group presentations (since virtually all of the dramaturgÕs work in the
theatre involves collaboration as a team member). At the end of the semester, there is a
final project, which may be team or may be individual.
I. Discussion Topics and Readings.
Topics
include: What is a dramaturg? What is the dramaturgÕs function? What is the dramaturgÕs function in
relation to certain institutional structures, special tasks, ways of organizing
rehearsals, etc.?
Readings
will be drawn, for the most part, from Dramaturgy in American Theater: A Source Book, ed. Susan Jonas,
Geoffrey S. Proehl, and Michael Lupu.
Essays (downloadable for the Canvas site) to be read include:
Anne
Cataneo, ÒDramaturgy: An Overview.Ó
Joel
Schechter, ÒIn the Beginning There Was Lessing ... Then Brecht, MŸller and
Other Dramaturgs.Ó
Martin
Esslin, ÒTowards an American Dramaturgy:
Adapting the function of dramaturgy to U.S. conditions.Ó
Geoffrey
S. Proehl, ÒThe Images Before Us:
Metaphors for the Role of the Dramaturg in American Theater.Ó
and
possibly other essays to be announced.
There way be additional readings, for other sources, depending on our
other work during the semester.
II. Historical/Social/Contextual Research.
Every
other week, each person will be assigned to research a particular aspect of a
particular period, country, social class and/or activity. BEFORE THE CLASS when the assignment is
due, each person will post information, visual aids, etc. on the Canvas site,
along with bibliographical references (reference book, web site, etc.) for the
sources of the information; in class, each person will make a brief
presentation.
One
assignment might be aided by an in-class visit from research librarian Samantha
Kirk.
III. Dramaturging the Season.
Over
the course of the semester, we will both select a season of five plays
and begin dramaturgical work on at least one of these plays. The theme for the season will be EITHER
1) The Great Divide (relating to the widening gap between the 1% and the 99%),
2) Electoral politics. The seasonÕs
theme may be something we wish to advertise, or it might be something the
seasonÕs plays reference indirectly, without the audience necessarily realizing
it (e.g. Wicked being about the vilification of the Other, Into the
Woods being about AIDS, etc.).
Our collective task is to decide on the scale and mission of our
hypothetical theatre company; to define what we mean by our seasonÕs theme; and
to select a full season of plays, representing a balance of genre, tone, and
company size, etc., appropriate to the theatre companyÕs audience and
community.
The
companyÕs Artistic Director has already decided that ONE OF THE PLAYS WILL BE
BY SHAKESPEARE or one of his contemporaries. During the first part of the semester,
we will devise a system for reading, discussing, and selecting the five plays
of the season, to be drawn from a list of appropriate plays we collectively
research and compile. It is likely that
the process will initially involve individuals giving initial reports, with a
recommendation about whether another individual, or the entire class, should
read the play. (I only ask that, in
the initial stages, individuals report on plays THAT THEY HAVE NOT READ BEFORE;
if you know a script that you think the group and the class should consider,
that play should initially be reported on by someone ELSE.)
As
we select the plays, we will schedule individual and group dramaturgical
projects for some or all of the plays in the season. These might include:
Researching
period contexts, historical and political details, etc.
Preparing
visual materials for the director, designers, and cast.
For
the Shakespeare play: recommending
period settings (historical, Elizabethan, contemporary, some other period,
eclectic), preparing doubling schemes, cutting the text, etc. (We will be assisted by readings from
Andrew James Hartley, The Shakespearean Dramaturg).
If
we choose to cast the season from a resident company of actors, devising
cross-casting between the five plays of the season.
IV. New Play Dramaturgy.
Special
guest (date to be announced):
Edward Sobel, former Director of New Play Development, Steppenwolf
Theatre, Chicago, and dramaturg for the original productions of both August: Osage County and Superior Donuts
at Steppenwolf and on Broadway; currently Associate Professor of Theatre at
Temple University. Until recently
he was Associate Artistic Director of the Arden Theatre, where he directed Superior
Donuts, Clybourne Park, and Endgame, and created The WritersÕ
Room. (Sobel is a Penn alumnus and
Theatre Arts minor, class of 1987).
V. Required Theatregoing: TO
BE DETERMINED.
VI. The final writing assignment.
At
the end of the semester (at a date to be announced) we will, individually or
collectively, prepare a set of written and visual materials for THE ENTIRE
SEASON, including some or all of the following: a) a program note about the playwrights;
b) a program note about the plays and the (hypothetical) productions; c) a
packet of materials for a program insert or a subscriber bulletin; d) a packet
of materials to be sent to the press; e) a packet of materials to be sent to
school groups; f) visual displays for the theatre lobby; g) on-line blogs,
articles, visual materials, etc.
Our particular challenge will be to support the theme of the season,
even if we donÕt necessarily want the audience to notice that the season has
that particular theme.
Materials
should be posted on the website for comment, and presented in the final class.
Attendance
and participation are mandatory.
Persistent unexcused absences, especially an absence on a day of an
individual or team presentation, will be reflected in your semester grade. If your absences of unpreparedness
jeopardize another studentÕs work, you will be asked to drop the class.