English 597
Shakespeare: Text, Script, Performance, Performance
History
Fall, 2006
519 Annenberg Center, 3-2659; cmazer@english.upenn.edu
Office Hours:
Tu 1:30-3:00, Th 11:00-11:50, and by appointment
1.
September 12: Introduction: Script, Performance, Text
2.
September 19: Script,
Performance, Text (continued):
W.
B. Worthen, “Authority and Performance,” from Shakespeare and the Authority of Performance (bulkpack); Worthen, “Dramatic Performativity and the
Force of Performance,” from Shakespeare
and the Force of Modern Performance (bulkpack).
3.
September 26: Early-Modern
Conventions of Performance:
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).
(BRING
A SCRIPT OF ROMEO AND JULIET TO
CLASS.)
4.
October 3: Early-Modern
Performance, Text, and Publishing:
Robert
Weimann, “Playing with a Difference: Revisiting ‘Pen’ and ‘Voice’ in
Shakespeare’s Theater,” Shakespeare Quarterly. 50 (1999) 415-32
(electronic).
Scott
McMillin, “The Othello Quarto and the
‘Foul-Papers’ Hypothesis,” Shakespeare
Quarterly 51 (2000) 67-85 (electronic).
Alan
B. Farmer and Zachary Lesser, “Vile Arts:
The Marketing of English Printed Drama, 1512-1660,” Research Opportunities in Renaissance Drama 39 (2000), pp. 77-109
(bulkpack).
Steven
Urkowitz, “Five Women Eleven Ways:
Changing Images of Shakespearean Characters in the Earliest Texts”
(bulkpack).
5.
October 10: Early-Modern Acting
and Character:
Bert
O. States. “The Anatomy of Dramatic Character,” Theatre Journal 37 (1985) 87-101 (electronic).
Harry
Berger, Jr. “Text Against
Performance: The Example of Macbeth” (bulkpack).
Joseph
R. Roach, “Changeling Proteus,” from The
Player’s Passion: Studies in the Science
of Acting (bulkpack).
Alan
Sinfield, “When is a Character Not a Character:
Desdemona, Olivia, Lady Macbeth,
and Subjectivity” from Faultlines
(bulkpack).
Anthony
B. Dawson, “Performance and Participation:
Desdemona, Foucault, and the Actors’ Body,” in Bulman, Shakespeare, Theory, and Performance.
6.
October 17: Early-Modern
Performance and Ideology
Robert
Weimann, “Bifold Authority in Shakespeare’s Theatre” (electronic).
Paul
Yachnin, “The Populuxe Theatre,” from Anthony B. Dawson and Paul Yachnin, The Culture of Playgoing in Shakespeare’s
England: A Collaborative Debate
(bulkpack).
Jean
Howard, “Crossdressing, The Theatre, and Gender Struggle in Early Modern
England,” Shakespeare Quarterly 39
(1988), 418-440 (electronic).
[Fall Break]
7. October 31:
Subsequent Performance: The Materials
of Performance History; Reading Material Theatre:
Ric
Knowles, “Part I (“Theory: Towards a
Materialist Semiotics,” and
“Practice: Conditions of
Production and Reception,” in Reading the
Material Theatre.
8.
November 7: Subsequent
Performance: Acting and Character:
(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).
9.
November 14: Subsequent
Performance: Performance and Ideology:
Susan
Bennett, “New Ways to Play Old Texts:
Discourses of the Past,” from Performing
Nostalgia: Shifting Shakespeare and the
Contemporary Past (bulkpack)
W.B.
Worthen, first part of “Performing History,” from Shakespeare and the Force of Modern Performance (bulkpack) pp. 28-39.
Richard
W. Schoch, “‘Solid Fragments’: The Poetics of performing History,’ and “‘The
Homestead of History’: Medievalism and
Nationhood on the Mid-Victorian Stage,” from Shakespere’s Victorian Stage:
Performing History in the Theatre of Charles Kean (bulkpack).
10.
November 21: Contemporary
Performance: Acting and Character:
Richard
Paul Knowles, “Shakespeare Voice, and Ideology:
Interrogating the Natural Voice,” in Bulman, Shakespeare,
Theory and Performance.
W.B.
Worthen, “Shakespeare’s body: Acting and
the Designs of Authority,” from Shakespeare
an the Authority of Performance (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).
W.B.
Worthen, Shakespeare and the Authority of
Performance, latter half of Chapter Two (“Shakespeare’s Auteurs”)
(bulkpack).
11.
November 28: Contemporary
Performance: Performance and Ideology
Alan
Sinfield, “Royal Shakespeare: Theatre
and the Making of Ideology” (bulkpack).
Susan
Bennett, “Production and Proliferation:
Seventeen Lears,” from Performing
Nostalgia: Shifting Shakespeare and the
Contemporary Past (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” (electronic).
12.
December 6: Writing about
Contemporary Performance:
Barbara
Hodgdon, “Looking for Mr. Shakespeare After ‘The Revolution’: Robert Lepage’s Intercultural Dream Machine,” in Bulman, Shakespeare, Theory, and Performance.
Sarah
Werner, “The Taming of the Shrew: A Case Study in Performance Criticism,” from Shakespeare and Feminist Performance: Ideology on Stage (bulkpack)
Ric
Knowles, “The Stratford Festival,” and “The English Shakespeare Company,” in Reading the Material Theatre.
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
Ric
Knowles, Reading the Material Theatre.
The bulkpack can be purchased at the Campus Copy
Center, 3900 block of Walnut St.
Reports
and Papers: 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 ENGL597-401-06C@lists.upenn.edu
An electronic version of this syllabus is
available on line at http://www.english.upenn.edu/
ÿcmazer/597f06.html. Make a bookmark for this site on your web
browser. In addition, we will be using a
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