ENGLISH 597:

MODERN SCHOLARSHIP, CONTEMPORARY PERFORMANCE,

EARLY-MODERN SCRIPTS

Professor Mazer

Fall 2003

519 Annenberg Center, 3-2659; cmazer@english.upenn.edu

Office Hours: Tu 1:00-2:45; Th 11:00-11:45, and by appointment

1. September 4: Introduction: Script, Performance, Text

2. September 11: Script, Performance, Text (continued)

Readings:

William Shakespeare, Hamlet

W. B. Worthen, Shakespeare and the Authority of Performance, Chapter One (“Authority and Performance”) (bulkpack)

Reports:

John Russell Brown, Shakespeare Plays in Performance

J.L. Styan, Shakespeare’s Stagecraft

Michael Goldman, Shakespeare and the Energies of Drama

Jean Howard, Shakespeare’s Art of Orchestration

Gary Taylor, To Analyze Delight (aka Moment by Moment by Shakespeare)

H.R. Coursen, Shakespearean Performance as Interpretation

Samuel Crowl, Shakespeare Observed

3. September 18: Conventions of Performance

Readings:

Alan C. Dessen, “The problem, the evidence, and the language barrier,” “Lost in translation,” “Much virtue in As,” “The Vocabulary of ‘Place,’” (from Recovering Shakespeare’s Theatrical Vocabulary). (bulkpack)

4. September 25: Performance and Text

Readings:

Steven Urkowitz, “Five Women Eleven Ways: Changing Images of Shakespearean Characters in the Earliest Texts” (bulkpack)

Robert Weimann, “Playing with a Difference: Revisiting ‘Pen’ and ‘Voice’ in Shakespeare’s Theater” (bulkpack)

5. October 2: Acting and Character I: Writing About Character

Readings:

Bert O. States. “The Anatomy of Dramatic Character” (bulkpack)

Harry Berger, Jr. “Text Against Performance: The Example of Macbeth” (bulkpack).

Random Cloud (Randall McLeod), “’The Very Names of the Persons’: Editing and the Invention of Dramatick Character” (bulkpack)

Reports:

A.C. Bradley, “Hamlet,” from Shakespearean Tragedy.

Harley Granville-Barker, “Hamlet,” from Prefaces to Shakespeare.

Lily B. Campbell, “Hamlet,” in Shakespeare’s Tragic Heroes.

John Dover Wilson, What Happens in Hamlet.

L.C. Knights, “How Many Children Had Lady Macbeth?” in Explorations: Essays in Criticism Mainly on the Literature of the Seventeenth Century.

Michael Goldman, “Hamlet: Entering the Text,” Theatre Journal 44 (1992) pp. 449-60.

Bert O. States, Hamlet and the Concept of Character.

Harold Bloom, chapters on Hamlet in Shakespeare and the Invention of the Human.

6. October 9: Acting and Character II: Historicizing Acting, Character, and Gender

Readings:

John Webster, The Duchess of Malfi

Joseph R. Roach, “Changeling Proteus,” from The Player’s Passion: Studies in the Science of Acting (bulkpack)

Catherine Belsey, Chapters 2-4 (“Unity,” “Knowledge,” and “Autonomy”) from The Subject of Tragedy: Identity and Difference in Renaissance Drama (bulkpack)

Phyllis Rackin, “Shakespeare’s Boy Cleopatra, the Decorum of Nature, and the Golden Age of Poetry” (bulkpack)

7. October 16: Acting and Character III: “Modern” Acting and Character

Readings:

William Shakespeare, The Taming of the Shrew

Mary Cowden Clarke, “Katharina and Bianca: The Shrew and the Demure” from The Girlhood of Shakespeare’s Heroines (bulkpack)

George Henry Lewes, “Edmund Kean,” and “On Natural Acting,” from On Actors and the Art of Acting (bulkpack)

William Archer, “Introductory” (pp. 75-82), “Sunt Lacrymae Rerum” (pp. 101-130), “’Autosuggestion’ and ‘Innervation’” (pp. 171-183), and “The Brownies of the Brain,” (pp. 184-200), from Masks or Faces? (bulkpack)

G. Bernard Shaw, two theatre reviews from The Saturday Review (bulkpack)

8. October 23: Acting and Character IV: Character and Contemporary Acting Practice

Readings:

Richard Paul Knowles, “Shakespeare Voice, and Ideology: Interrogating the Natural Voice,” in Bulman, Shakespeare, Theory and Performance.

Worthen, Shakespeare an the Authority of Performance, Chapter Three (“Shakespeare’s body: Acting and the Designs of Authority”) (bulkpack)

Sarah Werner, “Performing Shakespeare: Voice Training and the Feminist Actor,” with responses from Cicely Berry, Patsy Rodenburg, and Kristin Linklater, and follow up response from Sarah Werner (bulkpack)

Reports:

Selected essays in Players of Shakespeare, v. 1-4.

Michael Pennington, Hamlet: A User’s Guide

Steven Berkoff, I Am Not Hamlet

Antony Sher, The Year of the King

Brian Cox, Lear Diaries

9. October 30: Acting and Character V: Post-Modern Criticism and Practice

Readings:

Alan Sinfield, “When is a Character Not a Character: Desdemona, Olivia, Lady Macbeth, and Subjectivity” (bulkpack)

Worthen, Shakespeare and the Authority of Performance, latter half of Chapter Two (“Shakespeare’s Auteurs”) (bulkpack)

Anthony P. Dawson, “Performance and Participation: Desdemona, Foucault, and the Actors’ Body,” in Bulman, Shakespeare, Theory, and Performance.

10. November 6: Early-Modern Performance and Ideology

Readings:

Robert Weimann, “Bifold Authority in Shakespeare’s Theatre” (bulkpack)

Anthony P. Dawson, “Performance and Participation,” and Paul Yachnin, “The Populuxe Theatre,” from Yachnin and Dawson, The Culture of Playgoing in Shakespeare’s England: A Collaborative Debate (bulkpack)

Jean Howard, “Power and Eros: Crossdressing in Dramatic Representation and Theatrical Practice, from The Stage and Social Struggle in Early Modern England (bulkpack)

11. November 13: Historical Performance and Ideology

Readings:

Richard W. Schoch, “‘The Homestead of History’: Medievalism on the Mid-Victorian Stage” (bulkpack)

Laurie Osborne, “Rethinking the Performance Editions: Theatrical and Textual Productions of Shakespeare,” in Bulman, Shakespeare, Theory, and Performance.

[November 20: no class; extra class to be rescheduled]

[November 27: Thanksgiving]

12. December 4: Contemporary Performance and Ideology

Readings:

Alan Sinfield, “Royal Shakespeare: Theatre and the Making of Ideology” (bulkpack)

Susan Bennett, Performing Nostalgia: Shifting Shakespeare and the Contemporary Past, Chapters One (“New Ways to Play Old Texts: Discourses of the Past”) and Two (“Production and Proliferation: Seventeen Lears”) (bulkpack)

W.B. Worthen, “Reconstructing the Globe, Constructing Ourselves” (bulkpack)

Carol Rutter, “Kate: Interpreting the Silence,” from Clamorous Voices: Shakespeare’s Women Today (bulkpack)

Penny Gay, “The Taming of the Shrew: Avoiding the Feminist Challenge,” in As She Likes It: Shakespeare’s Unruly Women (bulkpack)

Barbara Hodgdon, “Katherina Bound: or, Play(K)ating the Strictures of Everyday Life” (bulkpack)

13. Postponed class from November 11, TO BE SCHEDULED: Creating Performance

Readings: TBA

Books to be Purchased: The following books are available for purchase at the Penn Book Center, 34th and Sansom Sts.

James C. Bulman, Shakespeare, Theory, and Performance

W. B. Worthen, Shakespeare and the Authority of Performance

John Webster, Plays

The bulkpack can be purchased at the Campus Copy Center, 3900 block of Walnut St.

Reports and Papers: Depending on the final enrollment in the class, you will be required to present, tentatively, TWO in-class reports: ONE brief report on one of the essays in the Players of Shakespeare or related texts on October 23; and ONE report on a scholarly book, chapter, or essay, on EITHER September 11 or October 2. For your report, you might be asked to give a brief presentation, and/or to distribute a brief abstract or supporting materials. There will be, at the end of the semester, a single seminar paper, due at a date to be determined.

Recommended/Required Theatregoing: TBA.

The course listserv is ENGL597-401-03C@lists.upenn.edu

An electronic version of this syllabus is available on line at http://www.english.upenn.edu/˜cmazer/597f03.html. Make a bookmark for this site on your web browser.

EARLY-MODERN SCRIPTS

Professor Mazer

Fall 2003

CONTENTS

W. B. Worthen, Shakespeare and the Authority of Performance, Chapter One, “Authority and Performance,” (Cambridge: Cambridge University Press, 1997), pp. 1-43, 193-199.

Alan C. Dessen, “The problem, the evidence, and the language barrier,” “Lost in translation,” “Much virtue in As,” and “The Vocabulary of ‘Place,’” from Recovering Shakespeare’s Theatrical Vocabulary (Cambridge: Cambridge University Press, 1995), pp. 1-39, 127-175.

Steven Urkowitz, “Five Women Eleven Ways: Changing Images of Shakespearean Characters in the Earliest Texts,” in Werner Habicht, D. J. Palmer, and Roger Pringle, eds., Images of Shakespeare (Newark: University of Delaware Press, 1986), pp. 292-304.

Robert Weimann, “Playing with a Difference: Revisiting ‘Pen’ and ‘Voice’ in Shakespeare’s Theater,” Shakespeare Quarterly. 50 (199) 415-32.

Bert O. States. “The Anatomy of Dramatic Character,” Theatre Journal 37 (1985) 87-101.

Harry Berger, Jr., “Text Against Performance: The Example of Macbeth,” Genre 15 (1982) 49-79.

Random Cloud (Randall McLeod), “’The Very Names of the Persons’: Editing and the Invention of Dramatick Character,” in David Scott Kastan and Peter Stallybrass, eds., Staging the Renaissance: Reinterpretations of Elizabethan and Jacobean Drama (New York: Routledge, 1991)pp. 88-96

Joseph R. Roach, “Changeling Proteus,” from The Player’s Passion: Studies in the Science of Acting (Newark: University of Delaware Press, 1985), pp. 23-57.

Catherine Belsey, Chapters 2-4 (“Unity,” “Knowledge,” and “Autonomy”) from The Subject of Tragedy: Identity and Difference in Renaissance Drama (London: Routledge, 1985), 13-125.

Phyllis Rackin, “Shakespeare’s Boy Cleopatra, the Decorum of Nature, and the Golden Age of Poetry” PMLA 87 (1972) 201-12.

Mary Cowden Clarke, “Katharina and Bianca: The Shrew and the Demure” from The Girlhood of Shakespeare’s Heroines.

George Henry Lewes, “Edmund Kean,” and “On Natural Acting,” from On Actors and the Art of Acting (London: Smith, Elder, 1875), pp. 1-11, 109-125.

William Archer, “Introductory” (pp. 75-82), “Sunt Lacrymae Rerum” (pp. 101-130), “‘Autosuggestion’ and ‘Innervation’” (pp. 171-183), and “The Brownies of the Brain,” (pp. 184-200), from Masks or Faces? (1888; rpt. New York: Hill and Wang, 1957).

G. Bernard Shaw, two theatre reviews from The Saturday Review, rpt. in Our Theatres in the Nineties (London: Constable, 1932), v. I, pp. 140-154.

W. B. Worthen, Shakespeare an the Authority of Performance, Chapter Three, “Shakespeare’s body: Acting and the Designs of Authority,” pp. 95-150, 211-221.

Sarah Werner, “Performing Shakespeare: Voice Training and the Feminist Actor,” New Theatre Quarterly 47 (August 1996) 249-58; Cicely Berry, Patsy Rodenburg, and Kristin Linklater, “Shakespeare, Feminism, and Voice: Responses to Sarah Werner,” New Theatre Quarterly 49 (February 1997) 48-52; Sarah Werner, “Voice Training, Shakespeare, and Feminism,” New Theatre Quarterly 50 (May 1997) 183.

Alan Sinfield, “When is a Character Not a Character: Desdemona, Olivia, Lady Macbeth, and Subjectivity,” from Faultlines: Cultural Materialism and the Politics of Dissident Reading (Berkeley: University of California Press, 1992), pp. 52-79.

W. B. Worthen, Shakespeare and the Authority of Performance, latter half of Chapter Two, “Shakespeare’s Auteurs,” pp. 76-94, 204-210.

Robert Weimann, “Bifold Authority in Shakespeare’s Theatre,” Shakespeare Quarterly 39 (1988) 401-17.

“Performance and Participation,” and Paul Yachnin, “The Populuxe Theatre,” from Dawson and Yachin, The Culture of Playgoing in Shakespeare’s England: A Collaborative Debate, (Cambridge: Cambridge University Press, 2001) pp. 11-65.

Jean Howard, “Power and Eros: Crossdressing in Dramatic Representation and Theatrical Practice, from The Stage and Social Struggle in Early Modern England (London: Routledge, 1994), pp. 93-128.

Richard W. Schoch, “’The Homestead of History’: Medievalism on the Mid-Victorian Stage” Theatre Annual 48 (1995), 72-83.

Alan Sinfield, “Royal Shakespeare: Theatre and the Making of Ideology,” in Jonathan Dollimore and Alan Sinfield, eds., Political Shakespeare: New Essays in Cultural Materialism (Ithaca: Cornell University Press, 1985), pp. 158-181.

Susan Bennett, Chapters One (“New Ways to Play Old Texts: Discourses of the Past”) and Two (“Production and Proliferation: Seventeen Lears”), Performing Nostalgia: Shifting Shakespeare and the Contemporary Past (London: Routledge: 1996), pp. 1-78.

W.B. Worthen, “Reconstructing the Globe: Constructing Ourselves,” Shakespeare Survey 52 (1999) 33-45.

Carol Rutter, “Kate: Interpreting the Silence,” from Clamorous Voices: Shakespeare’s Women Today (London: Routledge, 1989), pp. 1-25.

Penny Gay, “The Taming of the Shrew: Avoiding the Feminist Challenge,” in As She Likes It: Shakespeare’s Unruly Women (London: Routledge, 1994), pp. 86-119

Barbara Hodgdon, “Katherina Bound: or, Play(K)ating the Strictures of Everyday Life,” PMLA 107 (1992), 538-53.

ENGLISH 597:

MODERN SCHOLARSHIP, CONTEMPORARY PERFORMANCE,

EARLY-MODERN SCRIPTS

Professor Mazer

Fall 2003

RIGHTS

W. B. Worthen, Shakespeare and the Authority of Performance, Chapter One, “Authority and Performance,” (Cambridge: Cambridge University Press, 1997), pp. 1-43, 193-199.

Robert Weimann, “Playing with a Difference: Revisiting ‘Pen’ and ‘Voice’ in Shakespeare’s Theater,” Shakespeare Quarterly. 50 (199) 415-32.

Bert O. States. “The Anatomy of Dramatic Character,” Theatre Journal 37 (1985) 87-101. SEE ENGLISH 597 FALL 1999

Harry Berger, Jr., “Text Against Performance: The Example of Macbeth,” Genre 15 (1982) 49-79. SEE ENGLISH 597 FALL 1999

Joseph R. Roach, “Changeling Proteus,” from The Player’s Passion: Studies in the Science of Acting (Newark: University of Delaware Press, 1985), pp. 23-57. SEE ENGLISH 597 FALL 1999

Catherine Belsey, Chapters 2-4 (“Unity,” “Knowledge,” and “Autonomy”) from The Subject of Tragedy: Identity and Difference in Renaissance Drama (London: Routledge, 1985), 13-125. SEE ENGLISH 597 FALL 1999

Phyllis Rackin, “”Shakespeare’s Boy Cleopatra, the Decorum of Nature, and the Golden Age of Poetry”” PMLA 87 (1972) 201-12. SEE ENGLISH 597 FALL 1999

Mary Cowden Clarke, “Katharina and Bianca: The Shrew and the Demure” from The Girlhood of Shakespeare’s Heroines PUBLIC DOMAIN

George Henry Lewes, “Edmund Kean,” and “On Natural Acting,” from On Actors and the Art of Acting (London: Smith, Elder, 1875), pp. 1-11, 109-125. PUBLIC DOMAIN

G. Bernard Shaw, two theatre reviews from The Saturday Review, rpt. in Our Theatres in the Nineties (London: Constable, 1932), v. I, pp. 140-154. PUBLIC DOMAIN

W. B. Worthen, Shakespeare an the Authority of Performance, Chapter Three, “Shakespeare’s body: Acting and the Designs of Authority,” (Cambridge: Cambridge University Press, 1997), pp. 95-150, 211-221.

W. B. Worthen, Shakespeare and the Authority of Performance, latter half of Chapter Two, “Shakespeare’s Auteurs,” (Cambridge: Cambridge University Press, 1997), pp. 76-94, 204-210.

Robert Weimann, “Bifold Authority in Shakespeare’s Theatre,” Shakespeare Quarterly 39 (1988) 401-17. SEE ENGLISH 597 FALL 1999

Jean Howard, “Power and Eros: Crossdressing in Dramatic Representation and Theatrical Practice, from The Stage and Social Struggle in Early Modern England (London: Routledge, 1994), pp. 93-128. SEE ENGLISH 597 FALL 1999

Richard W. Schoch, “’The Homestead of History’: Medievalism on the Mid-Victorian Stage” Theatre Annual 48 (1995), 72-83. SEE ENGLISH 597 FALL 1999

W.B. Worthen, “Reconstructing the Globe: Constructing Ourselves,” Shakespeare Survey 52 (1999) 33-45. SEE THEATRE ARTS 140, SPRING 2003

Carol Rutter, “Kate: Interpreting the Silence,” from Clamorous Voices: Shakespeare’s Women Today (London: Routledge, 1989), pp. 1-25. SEE ENGLISH 597 FALL 1999

Penny Gay, “The Taming of the Shrew: Avoiding the Feminist Challenge,” in As She Likes It: Shakespeare’s Unruly Women (London: Routledge, 1994), pp. 86-119. SEE ENGLISH 597 FALL 1999

Barbara Hodgdon, “Katherina Bound: or, Play(K)ating the Strictures of Everyday Life,” PMLA 107 (1992), 538-53. SEE ENGLISH 597 FALL 1999