Theatre Arts
275: Advanced Topics in Theatre
DRAMATURGY
Professor Mazer
Fall 2000
Bennett Hall 305, x7382; cmazer@english.upenn.edu
Office Hours: Tu
1:30-3:00; Th 1:30-3:00, and by appointment
This 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
dramaturg’s work in the theatre involves making succinct and persuasive oral
presentations). One of the
presentations (weekly) will be individual; the other two assignments
(alternating weeks) will be team presentations (since virtually all of the
dramaturg’s work in the theatre involves collaboration as a team member). At the end of the semester, there will be a
team writing assignment.
I. Discussion Topics
and Readings.
Topics include: What
is a dramaturg? What is the dramaturg’s
function? What is the dramaturg’s
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 to be read include:
Anne Cataneo, “Dramaturgy:
An Overview.”
Joel Schechter, “In the Beginning There Was Lessing ... Then
Brecht, Müller and Other Dramaturgs.”
Martin Esslin, “Towards an American Dramaturgy: Adapting the function of dramaturgy to U.S.
conditions.”
Geoffrey S. Proehl, “The Images Before Us: Metaphors for the Role of the Dramaturg in
American Theater.”
and other essays to be announced.
We will also consider the process of “New Play Dramaturgy”--ways
in which the dramaturg works directly with the playwright in creating or
revising a script--by reading Sam Shepard’s Buried Child, and
considering the revisions of the script for the revival of the play the
Steppenwolf Theatre Company, Chicago (and, subsequently, on Broadway). To be scheduled: a visit with Michele Volansky, formerly the dramaturg for
Steppenwolf, now dramaturg for the Philadelphia Theatre Company. Other possible classroom visits: Carrie Ryan (The Wilma Theatre), and Shannon
O’Donnell (People’s Light & Theatre Company).
II. oral
presentation A): the Grab Bag (weekly,
individual).
Each Tuesday, each student will draw a dramaturgical
question at random from a hat. Before
class the following Tuesday, each student will post the answer to the question on the courseweb.upenn web site,
and bibliographical references (reference book, web site, etc.) for the sources
of the information; in the Tuesday class, each student will make a brief
presentation of the answer to the question.
III. Oral
presentation B): Dramaturging the
Season (biweekly, team).
The class will be divided into TWO OR THREE dramaturgical
teams. We will imagine that we are
collectively serving as “production dramaturgs” for an ongoing hypothetical
theatre season of three plays. For the
first play, each team will be assigned two dramaturgical tasks, each of which
will be reported on, orally, every second week; different tasks will be
assigned TO each team for each of the other two plays (so that, by the end of
the semester, each team will have worked on all six different tasks). The plays in our hypothetical season are:
Harold Pinter, Old Times
Caryl Churchill, Cloud Nine
a third play to be announced
Dramaturgical assignments include:
1) Versions, texts,
editions, translations, etc.
2) The play in the
context of the playwright’s life, career, other works, etc.
3) The specific
period, place, and conditions of the play’s composition and original
performance, including relevant imagery, iconography, artifacts, cognate art
forms, etc.
4) The specific
period, place, and conditions of the play (or the performance’s) setting,
including relevant imagery, iconography, artifacts, cognate art forms, etc.
5) The play’s
subsequent performance history.
6) Useful
scholarship and criticism, on the play and on related subjects.
IV. Oral
presentation C): Planning Next Season
(biweekly, team).
Throughout the semester while we are collectively
dramaturging our hypothetical three-play season, we will also be planning the
repertoire of plays for a hypothetical five-play season for next year. In the first few weeks of the semester, we
will establish the hypothetical criteria for the season (venue, budget,
audience, artistic mission, etc.), and develop a list of about 100 plays that
we wish to consider for this season.
Every second week (alternating with the team production-dramaturgy
reports), each team will make a brief presentation in which each member of each
team (i.e. every student in the class) will be responsible for one play from
the list, describing the play (its plot, theme and significance; its physical,
budgetary, and personnel demands; etc.) and making a recommendation about its
inclusion in the next season. At the
end of the semester, we will collectively select the five plays for the
hypothetical season, based on the individual and team recommendations.
V. The final writing
assignment (team).
At the end of the semester (at a date to be announced) each
team will present a set of written materials on a single play, including a) a
program note about the playwright; b) a program note about the play and the (hypothetical)
production; c) a packet of materials for a program insert or a subscriber
bulletin; d) a packet of materials to be sent to the press; and e) a packet of
materials to be sent to school groups.
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.
The books for the course (Dramaturgy in American
Theater: A Source Book, Old
Times, Cloud Nine, Buried Child), are available for purchase
in the Penn Book Center (34th and Sansom).
There may be a bulkpack for this course later in the semester, which
will be available at the Campus Copy Center, 3900 block of Walnut St.
The listserv for this course is mazer275@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. You may wish to create
aliases or listservs for your individual teams.
An electronic version of this syllabus, including a hot link to the dramturgy web site: http://www.ups.edu/professionalorgs/dramaturgy, is available on line at: http://www.english.upenn.edu/~cmazer/275f00.html. Make a bookmark on your web browser for this site. In addition, we will be using an experimental web site for this course. Make a bookmark on your browser for http://courseweb.upenn.edu, click on Theatre Arts, 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. We may discover class and team uses of this web site over the course of the semester.