THEA336 (Spring 2010) Herrera

THEATRE 336/AMERICAN STUDIES 340

T HEATRE H ISTORY II • SPRING 2010
THE 18 TH CENTURY TO THE PRESENT
Tu/Th 11:00am-12:15pm • CFA B417
Instructor: Brian Herrera, Ph.D.
<herrerab@unm.edu>
http://thea336.blogspot.com/
Office: CA B437 • Hours: Wed (11am-12pm), Thu (1:30-3:00pm) & By Appt.
GA: Erin Phillips <phillips.erin@gmail.com>

COURSE DESCRIPTION:
This course undertakes a survey of the history and theory of world theatre and performance,
from the 18th century to the present. Course participants will learn to identify theatrical forms
and styles of performance across cultures and across centuries and become fluent in the
theories and terminologies relevant for the critical analysis of theatrical performance. Exams,
presentations and regular participation in class discussions will oblige students to demonstrate
their engagement with course materials in an academically meaningful way. Students are
advised that this course is reading and writing intensive, and should budget their time
accordingly.

REQUIRED TEXTS:
The following texts have been ordered for the course and are available for purchase at the UNM
Bookstore. Texts marked with an asterisk (*) should be available at the Fine Arts Library for 2-
Hour Reserve loan.
Norton Anthology of Drama, Volume II* (eds. Gainor, Garner & Puchner, 2009) (NAD2)
The Theatre: A Concise History, 3 rd Edition (Hartnoll & Brater, 1998) (THE)
Additional required readings – as well as an archive of most course handouts – will be
accessible through the UNM Library’s course reserve page <http://ereserves.unm.edu/>. The
password required to access eReserve materials for this course is: _______________. (E R ES )

COURSE REQUIREMENTS:
At minimum, this course expects participants to attend all scheduled course meetings, arriving
on time and prepared to participate in curricular activities. Participants are also expected to
complete all assigned readings by the date indicated on the course schedule, and contribute to
in-class discussions. There will be a MIDTERM EXAM (3/4) and a FINAL EXAM (5/11), and each
student is required to present at an in-class POSTER SESSION.

COURSE OBJECTIVES:
As course participants complete all course requirements, they will:
: acquire familiarity with key aspects of world theatre history from the 18th century to the present;
: utilize diverse sources (visual, literary, material) to analyze historical theatre practice;
: distinguish between significant historical periods, conventions, genres & theories of theatre;
: organize information for an independent, in-depth report on a specific aspect of world theatre history;
: develop fluency with theories and terminologies relevant to critical analysis of theatre/performance;
: relate theatre history to the creation of theatre/performance for a contemporary audience;
: understand the traditions of theatre, dramatic literature, and theatre/performance study as central to
the global evolution of theatre as a sociopolitical institution and as an expressive practice.

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GRADING:
Grades for the course will be determined as follows:
50% PARTICIPATION
10% Class Attendance (Weeks 1-8)
10% Class Attendance (Weeks 9-16)
10% Cultural Document Worksheets
10% Response Forms (Web Surveys & Poster Sessions)
10% Overall Contribution to Course
50% CORE ASSIGNMENTS
10% Poster Presentation @ Session #1 [2/18], #2 [3/11], or #3 [4/8]
20% MidTerm Exam (Thursday, March 4 – 11:00am –12:15pm)
20% Final Exam (Tuesday, May 11 – 12:30–2:30pm)

Please note that failure to complete two (2) core assignments as scheduled will result in
immediate disenrollment and an automatic grade of “WF” for the course.

GRADING KEY:
EXCEPTIONAL A+ 6 ++
EXCELLENT A 5 +
EFFECTIVE B 4 √
SATISFACTORY C 3 √
ADEQUATE C- 2 –
DEFICIENT D or below 1 ø

CULTURAL DOCUMENT WORKSHEETS:

Throughout the semester, you will be expected to complete and submit no fewer than twelve (12)
“Cultural Document Worksheets” (CDWs) as per the instructions offered during Week 2 of the
course. CDWs will be collected at the beginning of class on the day the play is assigned – no
excuses, no exceptions. Each submitted CDW will be reviewed by the instructional staff and will
receive CREDIT (+/√/–) if completed accurately/adequately. Incomplete or inadequate
submissions (as well as those CDWs submitted after the beginning of class) will receive
REDUCED CREDIT (√/–/ø). Course participants neglecting to submit the required number of
CDWs will receive NO CREDIT (-1) for each missing/unsubmitted CDW. Those who choose to
submit more than the required twelve (12) CDWs will receive double credit for each additional
CDW. Cumulatively, your record of completion of Cultural Document Worksheets will contribute
10% of your final course grade. Cultural Document Worksheets will be collected at the beginning
of class on the day they are due. As a rule, no “make-up” worksheets will be accepted.

RESPONSE FORMS:
Most weeks, you will have the opportunity to complete at least one on-line survey that asks you
to draw critical connections between (1) the core methods, questions and vocabularies of the
course and (2) specified performance-related event/s in the greater Albuquerque area.
Weblinks to each of these surveys will be accessible through the main page of the course blog.
You will be expected to complete and submit no fewer than five (5) on-line surveys. Each
completed survey will be reviewed by the instructional staff and will receive CREDIT (+1) if
completed accurately/adequately. Course participants neglecting to submit the required number
of surveys will receive NO CREDIT (-1) for each missing/unsubmitted survey. Those who choose
to submit more than the required five (5) surveys will receive double credit for each additional
survey completed. Cumulatively, your record of completion of the online surveys, in combination
with your completion of each of three (3) Poster Session Response Forms, will contribute 10% of
your final course grade. Each survey MUST be completed prior to each survey’s specified
“closing” date as indicated on the course blog – no excuses, no exceptions.
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CORE ASSIGNMENTS :
POSTER SESSIONS:
Each course member must participate in three (3) in-class “Poster Sessions,” developing and
presenting a Poster Presentation as part of one session and completing a Poster Session
Response Form as part of all three.

POSTER SESSION PRESENTATION:

Each course participant is expected to devise an original POSTER PRESENTATION that accurately
and efficiently communicates the essential information about an assigned theatre history topic
(person, play, place, thing, event, style, genre &/or concept). An effective poster presentation
should combine text, data and graphics as appropriate to create a visually pleasing and
accessible introduction to your assigned topic. Posters will be displayed “science fair” or “trade
show” style in Theatre X (CFA B417) for review by your course colleagues at one of the scheduled
POSTER SESSIONs indicated below. Course participants have the option to complete their
Poster Presentation as individuals or as part of a group of two enrolled students. The course
instructor will assign topics and groups no later than Week 3 for Poster Session #1, Week 5 for
Poster Session #2, and Week 10 for Poster Session #3.

• 11:00am-12:15pm – Poster Session #1 – Thursday, February 18

• 11:00am-12:15pm – Poster Session #2 – Thursday, March 11
• 11:00am-12:15pm – Poster Session #3 – Thursday, April 8

POSTER SESSION RESPONSE FORMS:

For EACH of the POSTER SESSIONS listed above, each course participant is expected to
complete a brief POSTER SESSION RESPONSE FORM for each of the three (3) scheduled Poster
Sessions. This form will be provided, collected and reviewed by the instructional staff.
Appropriately completed/submitted forms will contribute to your cumulative Response Form
grade (10%) for the course. As a rule, no opportunity to “make-up” Poster Session
Response Forms will be provided.

EXAMS:
Examinations will be conducted in-class and will require you to answer identifications and other
questions drawn from course lectures, readings, materials, vocabulary lists and exercises. A LL
EXAMS WILL BE CLOSED BOOK / CLOSED NOTE .

• Midterm Exam – Thursday, March 4 – 11:00am-12:15pm

• Final Exam – Tuesday, May 11 – 12:30-2:30pm
Administration of exams will commence promptly at the beginning of class on the date
indicated in the course schedule. Course participants MUST complete each exam as
scheduled. As a rule, “make-up” exams will NOT be administered.

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COURSE POLICIES:
ATTENDANCE/PARTICIPATION: Attendance at all class meetings is mandatory. Thoughtful and
appropriate participation (including completion of cultural document worksheets and in-class exercises as
well as demonstrable familiarity with assigned readings) will be regularly and rigorously evaluated.
Further, course participants are expected treat their colleagues and the instructional staff with courtesy
and respect at all times. Disruptive behavior (including – but not limited to – all texting, wearing earbuds,
conspicuous eating, intrusive cell phone use, disrespect of classmates/instructors, side conversations,
computer “sharing”, etc.) will result in the offending participant/s being asked to leave the classroom
and/or being marked absent for that class meeting.

ABSENCES: Be advised that you are allotted two (2), and only two, unexcused absences
for the course. An absence will be considered “excused” only if verified/documented (ie. note from
Doctor, Judge, Dean or equivalent). Six (6) or more unexcused absences will almost certainly result in a
failing grade for the course. Habitual tardiness and/or early departures will be similarly penalized.
PLEASE NOTE: AUDITIONS, PRODUCTION DEADLINES, REHEARSALS AND/OR FILM SHOOTS ARE NOT
CONSIDERED EXCUSABLE ABSENCES.
http://pathfinder.unm.edu/policies.htm#attendance

“CRISIS” POLICY: It remains your responsibility to manage your commitments so that you can also meet
your obligations in this class. However, if a personal situation arises during the semester that threatens to
affect your classroom performance, you are strongly encouraged to speak with the instructor about your
circumstances immediately. Do not wait until the situation has begun to damage your grade/s in the
course. It is your responsibility to communicate with the instructor sooner rather than later so that an
appropriate strategy or resolution can be devised. Be advised that a final grade of “WP” or “I” will typically
NOT be awarded unless the course participant (a) formally withdraws from the course or (b) submits a
written request in hardcopy to the instructor prior to the end of Week 12.

CONTENT POLICY: This course presumes your willingness and commitment to responsibly engage the
ideas raised by performances addressing challenging topics in a broad range of cultural contexts. Course
participants should be alert to the fact that this course examines performances that include content,
imagery, language and situations that might be challenging and/or disturbing to some. Course materials
will oblige students to engage seriously with performances addressing diverse spiritual traditions, diverse
political ideologies, obscenity, censorship, feminism, violence, war, race, religious fundamentalism, nudity,
gender identity, homosexuality, and sexual labor, among other topics. By remaining in this course, you are
obligating yourself to reading, viewing, and discussing such works as you complete the requirements of
the class. Additionally, by remaining in this course, you are making a commitment to treating these
subjects, your classmates and the instructional staff with courtesy, respect and maturity, in accordance
with the UNM Student Code of Conduct.:
http://pathfinder.unm.edu/policies.htm#studentcode
http://pathfinder.unm.edu/policies.htm#freedomexpression

EQUAL ACCESS: Accessibility Services (Mesa Vista Hall 2021; 277-3506) provides academic support to
students who experience learning challenges and/or disabilities. If you suspect you might require
alternative accessible formats for undertaking and completing coursework successfully, you are strongly
encouraged to contact Accessibility Services immediately to assure that your needs are met in a timely
manner.
http://pathfinder.unm.edu/policies.htm#academicadjustment

ACADEMIC DISHONESTY: The University of New Mexico and the Department of Theatre and Dance
take issues of cheating, plagiarism and other forms of academic dishonesty (for example, forging an
excuse notice) very seriously. For this course, any student who claims credit for work not done, or done by
others, will receive a failing grade for the assignment in question. If a student plagiarizes on a second
assignment, that student will receive a failing grade for the course, and the matter will be referred
immediately to the College for review and potential disciplinary action (e.g. suspension, expulsion)
according to University policies. For further information, please see the section titled “Student Code of
Conduct” in the Pathfinder, the UNM Student Handbook.
http://pathfinder.unm.edu/policies.htm#academicdishonesty

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Theatre History II – COURSE SCHEDULE:

Refer to the following for a schedule of readings, major assignments, and deadlines for the term.
Remember, you are expected to complete the assigned reading for a particular day before
coming to class

W EEKS 1-2: THEATRE, DRAMA, PERFORMANCE

TU 1/19 WHY THEATRE HISTORY?
TH 1/21 THEATRE/DRAMA/PERFORMANCE
Read: Mystery Document (E R ES )
TU 1/26 THEATRICAL SPACE, CULTURAL SPACE
Read: “Introduction” (NAD2: 1-50); “Chapters 1-5” (THE: 7-112)
TH 1/28 DRAMATIC TEXT AS CULTURAL DOCUMENT
Read: “Reading Drama, Imagining Theater,” (NAD2: 81-85)
Wilde, The Importance of Being Earnest (NAD2: 255-303)
Cultural Document Worksheet #1 – WORKSHOP/DUE

W EEKS 3-5: THEATRES OF REVOLUTION

TU 2/2 AGAINST SENTIMENT AND SENSIBILITY
Read: “Introduction” (NAD2: 48-60)
Georg Buchner, Woyczeck (NAD2: 89-109)
Cultural Document Worksheet #2 – DUE
TH 2/4 ACTOR AS ICON
Read: “Chapters 6-9” (THE: 113-185)
Diderot, “The Paradox of Acting” (E R ES )
TU 2/9 THEATRICALIZING “THE REAL”
Read: “Chapter 10” (THE: 186-213)
W.W. Brown, The Escape, or A Leap for Freedom (NAD2: 111-151)
Cultural Document Worksheet #3 – DUE

Th 2/11 THEATRICAL NATIONALISM I: THE ASTOR PLACE RIOT

Read: “Theatre, Nation & Empire” (E R ES )
TU 2/16 THEATRICAL NATIONALISM II: THE PLAYBOY RIOTS
Read: Ellis, “Playboy of the Western World, Dublin 1907” (E R ES )
J.M. Synge, The Playboy of the Western World (NAD2: 387-402)
Cultural Document Worksheet #4 – DUE

TH 2/18 POSTER SESSION #1

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Week 6-7: 19 th CENTURY POPULAR PERFORMANCE

TU 2/23 BARNUM
Read: Strasbaugh, “When Barnum Took Manhattan” (E R ES )
TH 2/25 JIM CROW AND UNCLE TOM
Read: “‘Blacking Up’ on the U.S. Stage” (E R ES )
George L. Aiken, Uncle Tom’s Cabin (NAD2: xxx-xxx)
Cultural Document Worksheet #5 – DUE
TU 3/2 BRITCHES PARTS AND LEG SHOWS
Read: Dudden, “Segmentation: Many Theatres” (E R ES )
TH 3/4 M ID -T ERM E XAM
TU 3/9 TBA
TH 3/11 POSTER SESSION #2

Week 9: SPRING BREAK

TU 3/16 NO CLASS MEETING
TH 3/18 NO CLASS MEETING

W EEKS 10-12: TOWARDS A “MODERN” THEATRE

TU 3/23 IBSEN AND THE ISMS
Read: “Introduction” (NAD2: 60-68)
“Chapter 10” (THE: 214-230)
Henrik Ibsen, Hedda Gabler (NAD2: 195-254)
Cultural Document Worksheet #6 – DUE
TH 3/25 THE RISE OF THE DIRECTOR
Read: Stanislavsky - selections (E R ES )
Anton Chekhov, The Cherry Orchard (NAD2: 341-385)
Cultural Document Worksheet #7 – DUE
TU 3/30 BANNING MRS. WARREN’S PROFESSION
Read: “George Bernard Shaw” (NAD2: 403-407)
George Bernard Shaw, Mrs. Warren’s Profession (E R ES )
Cultural Document Worksheet #8 – DUE
TH 4/1 THE THEATRICAL APPARATUS
Read: Brecht, “The Modern Theatre Is The Epic Theatre” (E R ES )
Bertolt Brecht, The Good Person of Setzuan (NAD2: 579-651)
Cultural Document Worksheet #9 – DUE

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TU 4/6 THE ACTOR AS “MODERN” ARTIST

Read: “Chapter 10” (THE: 230-249)
Brecht, “Alienation Effects in Chinese Acting” (E R ES )
David Henry Hwang, M. Butterfly (NAD2: 1407-1458)
Cultural Document Worksheet #10 – DUE
TH 4/8 POSTER SESSION #3

W EEKS 12-14: T HEATRE IN “T HE A MERICAN C ENTURY ”

TU 4/13 “AMERICAN THEATRE” COMES OF AGE
Read: “Introduction” (NAD2: 68-75); Langston Hughes (NAD2:
531-538); Tennessee Williams (NAD2: 681-686); Arthur Miller
(NAD2: 753-758); Eugene O’Neill (NAD2: 927-931).
Susan Glaspell, Trifles (NAD2: 471-485)
Cultural Document Worksheet #11 – DUE
TH 4/15 THEATRE-MAKING AFTER WWII
Read: Esslin, “The Absurdity of the Absurd” (eRes)
Samuel Beckett, Waiting for Godot (NAD2: 843-905)
Cultural Document Worksheet #12 – DUE
TU 4/20 BEYOND THE GREAT WHITE WAY
Read: Bigsby, “Zen, Happenings, Artaud, Grotowski” (E R ES )
Luis Valdez, Los Vendidos (E R ES )
Cultural Document Worksheet #13 – DUE
TH 4/22 FOR COLORED GIRLS AND UNCOMMON WOMEN
Read: Canning, “Feminism, Theater and Radical Politics” (E R ES )
Maria Irene Fornés, Mud (NAD2: 1231-1252)
Cultural Document Worksheet #14 – DUE

W EEKS 15-16: THEATRES OF THE 21 ST CENTURY

TU 4/27 RE/BRANDING BROADWAY
Read: “Introduction” (NAD2: 68-75)
August Wilson, Fences (NAD2: 1353-1406)
Cultural Document Worksheet #15 – DUE
TH 4/29 THEATRE AFTER 9/11
Read: Taylor, “Afterword: War Play” (E R ES )
Caryl Churchill, The Number (NAD2: 1605-1628)
Cultural Document Worksheet #16 – DUE
TU 5/4 L OOSE E NDS
TH 5/6 F INAL E XAM R EVIEW

TU 5/11 FINAL EXAM – 12:30-2:30pm – CFA B417