Required text: Klaus, Carl H., Miriam Gilbert, and Bradford S. Field Jr., eds. Stages of Drama. 3rd ed. New York: St. Martin's Press, 1995.

Assignments: Bring the text to class every day. Read the complete play and commentary by the day indicated and at least once more.

Sept. 4 'Night, Mother

Sept. 16 Oleanna

Sept. 23 The Cherry Orchard

Oct. 2 FIRST PAPER DUE

Oct. 7 The Bacchae

Oct. 14 Cat on a Hot Tin Roof

Oct. 16 REVISION OF FIRST PAPER DUE

Oct. 28 The Duchess of Malfi

Nov. 4 Galileo

Nov. 11 The Lesson

Nov. 18 Ma Rainey's Black Bottom

Nov. 25 SECOND PAPER DUE

Dec. 2 Fool for Love

Dec. 11 REVISION OF SECOND PAPER DUE; prepare speech

Course requirements:

For each play except the two for which you do a production project, please turn in a written comment of roughly a page on some issue that you want to think out. You may use the topic I suggest below or discuss any other issue that interests you. Be sure to use these comments as opportunities to try out your ideas about the plays. Even if you don't get your idea fully worked out, put down on paper what you do have to say. It is legitimate to end with questions or to state both sides of a controversial issue when you don't yet have a clear preference. These comments will be graded Credit/No Entry, but I will keep track of them and will write brief comments of my own in response.

It is important to write these comments before the class period they are due; they should represent your first reactions to the play, before we discuss it. I will accept comments that are turned in late when you are absent for illness or other legitimate cause, and I will accept them late for partial credit even when stained with guilt. Please use 8 1/2 x 11 paper and either type or write legibly in ink. Legible corrections are perfectly all right. Remember that you need not use the topic I give if there is something else you want to discuss, and be sure to have your comment ready to turn in at the beginning of class on Tuesday.

Sept. 4 Write about a page of dialogue between Mama and Jessie. You need not fit it into the present play, but imagine the situation clearly, and have it come to some sort of point. But above all concentrate on trying to make each character sound like herself.

Sept. 16 Make a chart for the two characters in Oleanna, rating yourself as like, unlike, or halfway between in relation to the character, in each of the following categories: gender, social class, age, race, personality type. Briefly discuss the degree to which you think your response to the characters is affected by things suggested by the chart.

Sept. 23 After you read the play, re-read Lopakhin's speech on p. 618 beginning "No . . . I should have been there." What does he reveal about himself in this speech?

Oct. 7 The Bacchae is clearly far removed from the conventions of realism, but unrealistic elements can have the effect of giving an insight into some element of reality. See if you can make sense of Pentheus as a character. What does he believe in? Why is he so angry with Dionysos and the women? Can you explain his later behavior?

Oct. 14 Tennessee Williams is fond of giving physical details symbolic significance. Find such a detail, and notice everything that seems to be emphasized about it in the play. Then discuss its symbolism. (Of course that involves more than just naming an abstraction that it stands for.) Thus you might look at the bed or Brick's injury or Big Daddy's cancer.

Oct. 28 We first see the Duchess under attack by her brothers in Act I, Scene ii, lines 276-348. Though she says little, what hints of her character occur in this episode?

Nov. 4

Galileo was one of the noblest heroes of science. He made discoveries of great importance in physics and astronomy, and he revolutionized our understanding of the physical universe, despite the reactionary opposition of an obscurantist Catholic Church. Though his courage wavered for a time under threats of torture and death, he upheld the banner of science to the end, deceiving his captors and smuggling the manuscript of his Discorsi out of Catholic Italy to an expectant scientific world.

--A. Whigling Historian

Forgetting about Brecht, imagine what a play fitting this plot summary might be like. (You might even try that before reading Brecht's play.) After reading Galileo, discuss some of the ways in which Brecht's actual play differs from your imaginary one.

Nov. 11

The Theatre of the Absurd strives to express its sense of the senselessness of the human condition and the inadequacy of the rational approach by the open abandonment of rational devices and discursive thought. While Sartre or Camus express the new discontent in the old convention, the Theatre of the Absurd goes a step further in trying to achieve a unity between its basic assumptions and the form in which these are expressed.

--Martin Esslin

Discuss some of the ways in which Ionesco breaks with audience expectations about such dramatic conventions as character, plot, and symbolism in The Lesson.

Nov. 18 Comic characters often fit one or another stereotype, and one such stereotype is the prima donna, the performer with an inflated ego. Given that Wilson presents Ma that way in a comic scene on pp. 1248-49, how does he complicate and qualify the stereotype?

Dec. 2 Fool for Love is crowded with symbolic elements from the American myth: the cowboy, drinking, guns, the motel, etc. Choose one of these and discuss what Shepard does with it in this play.

For the October 2 assignment write an analysis of one character from The Cherry Orchard. Begin by trying to get inside the character, to see things from his or her point of view. Consider such topics and questions as the following: What is the character's main object during the play? What forces--both inside and outside the character--aid or resist the attainment of that object? What are the main character traits, and how are they displayed? Are there any physical objects associated with this character, and what are their implications? Are there parts of the character that do not fit the analysis you have developed--unpredictable bits of behavior, unrelated traits, etc.? Include a detailed analysis of the character in one significant episode--roughly half a page to a page of the play.

For the October 16 revision relate your ideas from the October 2 paper to some larger topic about the play. You need not incorporate everything from the first paper, and you may bring in new ideas and material. For example, if your character were Mama in 'Night, Mother, you might write this paper on the trap of the ordinary as a theme in the play, focusing on Mama.

For the November 25 paper write a review of some play production from this fall either on campus or in Cleveland, as though you were writing it for the Oberlin Review, or you may use the film of one of our plays. Use a different play from the topic of your first paper. Write taking for granted that your reader may not have seen the production or film, but avoid the sort of review that is largely a summary of the plot. You can look at the reviews in our text as possible models.

For the December 11 revision develop an idea or topic about the play or film, using the material from your review. Again you need not use it all, and you can add new material. Thus a paper on 'Night, Mother might discuss how the techniques of filming create something different from the stage version. Or one might argue whether the Duchess is more victim or heroine as revealed in Eileen Atkins' performance.

For each of these papers you may draw on whatever historical or theoretical material is relevant to your discussion. Avoid going over ideas that we have discussed at length in class. It is perfectly appropriate to develop ideas you started in a one-page comment. The assigned length is 5-7 pages, but that is merely a guide; a paper should take enough space to say what it has to say and then stop.

If you use scholarly or critical reading to develop your paper, be sure to document the use specifically. Footnote any ideas that you take from a written text, and indicate with quotation marks and a footnote any use of someone else's words. Use one of the standard forms of footnoting, such as this one.¹ (Notes may be either at the bottom of the page or on a separate page at the end of the paper.) When you quote from a play in our text, use act, scene, and line numbers in this way: (I.ii. 112-18). If there are no line numbers in the text, substitute a page number.

Your papers may be typed, printed by any form of computer printer, or neatly handwritten in ink. Use 8 1/2 x 11 paper, and double-space (not space and a half), on one side only. Papers are due either in class or by 4:30 at my office, Rice 106. I am fairly liberal about extensions, especially short ones, if you check with me in advance. I would be glad to talk with you about ideas for a paper or to look at a draft.

¹ Robert B. Pierce, Exciting Footnotes I Have Met (Oberlin: Bentley and Son, 1982), p. 132.

Sept. 16 Oleanna Act One from "I'm sorry" to "Wait a moment," p. 1314

John___________________ Carol_____________________

Sept. 16 Oleanna Act One from "I'm sorry" to "Wait a moment," p. 1314

John___________________ Carol_____________________

Sept. 18 Oleanna Beginning of Act Three to "As full well they should," p. 1321

John___________________ Carol_____________________

Sept. 25 The Cherry Orchard Act One "Why aren't you asleep, Anya?" (p. 624) to "Come on, my sweet, come on" (p. 625) Have Firs' lines read in

Varya _____________ Anya______________ Gayev_______________

Sept. 30 The Cherry Orchard Beginning of Act Two to Dunyasha's exit on p. 626

Charlotte________________ Yepikhodov___________________

Dunyasha________________ Yasha___________________

Oct. 2 The Cherry Orchard Act Three from Mrs. Ranevsky's line "Still no Leonid," p. 631, to Trofimov's fall downstairs on p. 633 (Have Varya read Yasha's line)

Mrs. Ranevsky___________Varya_____________ Trofimov____________

Oct. 7 The Bacchae Line 661 ("Who are you?") to 773 ("for a doomed man")

Pentheus____________________ Dionysos_____________________

Oct. 14 Cat on a Hot Tin Roof Act One from Mae, "May I enter a moment?" p. 913, to sd "puts the chair down," p. 914

Mae________________ Margaret_____________ Brick______________

Oct. 16 Cat on a Hot Tin Roof Act Three from "I guess that doctor has got a lot on his mind," p. 940, to "I know how to protect my own interests," p. 941

Gooper_____________________ Big Mama_______________________

Mae______________________ Margaret_______________________

Oct. 30 The Duchess of Malfi Act One, Scene Two, lines 376 ("I sent for you") to 456 ("my hand to help you: so")

Duchess_______________________ Antonio_____________________

Oct. 30 The Duchess of Malfi Act Four, Scene Two, lines 149 ("I am come to make thy tomb") to 296 ("They then may feed in quiet")

Duchess___________________ Bosola_____________________

Cariola/Executioners___________________

Nov. 4 Galileo Scene 11 complete

Pope_____________________ Inquisitor________________________

Nov. 6 Galileo Scene 13 from Virginia's line "He abides by the rules" (p. 807) to Galileo's line "It was not" (p. 808)

Virginia____________ Galileo______________ Andrea_______________

Nov. 11 The Lesson From "Good morning, young lady," p. 961, to "Good. We shall see" (p. 962)

Professor____________________ Pupil_______________________

Nov. 13 The Lesson From Maid's exit on p. 970 to Professor's line "do you understand? . . . " (p. 971)

Professor____________________ Pupil_______________________

Nov. 18 Ma Rainey's Black Bottom Act One, from Irwin's line, "Ma, I called down to the garage" (p. 1251) to Ma's line "I ain't going for it!" (p. 1252)

Irwin_______________________ Ma Rainey____________________

Nov. 20 Ma Rainey's Black Bottom Act Two, from Irvin's line, "Okay boys. Mr. Sturdyvant has your pay," p. 1265, to end

Sturdyvant____________________ Cutler_____________________

Levee___________________ Irvin/Toledo_______________________

Dec. 5 Fool for Love From Eddie's line "Decided to jump off the wagon, huh?" (p. 1194) to May's line "I'm not going with you, Eddie!" (p. 1195)

May_________________________ Eddie_______________________

Dec. 10 Fool for Love From sd "Suddenly the stage-left door bursts open, " (p. 1197) to May's line "So let's go to the movies" (p. 1198)

Eddie_______________ May________________ Martin______________

Get together and rehearse your scene several times through. Prepare for the rehearsals by learning your lines and thinking through your character. It would be good if you can read the whole play from the point of view of your character. Know the meanings of the words, allusions, etc., in your part. You can catch me to ask me any questions about problems in the scene, though I don't guarantee to have the answers. If you feel nervous, that actually helps up to a point. And keep in mind that you and your fellows in the scene probably know more about it than anyone else in the class, including me, if you have put in some time on careful thought and hard rehearsing.

These scenes are rather short, but it is essential to catch every mood and shift of feeling in your character. What is your object, the thing or things you as the character are striving for in this scene? What are the inner and outer obstacles to it? What are the things you aren't saying? How are you reacting when you aren't speaking? What is said by your posture, your movements, any objects or bits of costume you have?

Be very clear about your environment: how it is set up, where exits go to and where they are, what is on the fourth wall, what furniture is in the acting space. And bring in as many props and activities as you think will fill out the environment and action. Have something actual for any prop you handle, whether or not it is realistic. There should also be real sounds for sound effects.

Concentrate on the language. Memorize your lines as accurately as possible, and keep your pronunciation clear. Don't drop ending d's, t's, and other consonants. Listen for rhythms and repeated sounds and words. Use the rhetoric rather than fighting it or making it low-key. In general, play things big, with exaggeration rather than understatement.

Try to get inside your character, seeing the world as he or she does. People don't usually think of themselves as "I am a villain" or "I am silly." Keep in mind that as a character you don't know what is going to happen next in the scene. In a long speech discover it as you go along, thinking and feeling as you go. When you say something, say it clearly to someone. In a soliloquy or aside, try saying it to one person in the audience. (You can shift from one person to another.)

Above all, treat rehearsal and even the actual performance as a time of experiment and exploration. Don't finally reject ideas until you try them out, even if you are pretty sure they are wrong. Try different approaches: movements, inflections of the lines, reactions to what is said. Don't foreclose different possibilities on the basis of some view of what the play is about. Don't ask, "Is this right?" but "What happens if I do it this way?" Of course you finally have to choose one way, but make such final choices as late as possible.

Have fun with your scene. The Elizabethans called actors players, and theater from pick-up amateur to seasoned professional is in a very important sense playing.

Below are some questions to think about as you study the plays of this course. The first group are questions to be considered scene by scene. The second group look back at the whole play.

I. 1. Choose one character in the scene: what is that character trying to achieve? How does he or she go about it? What resistance does he or she encounter, whether from outside or from inside?

2. How are the other characters reacting to what is said? (Don't forget silent characters.) How does our perception differ from the characters'?

3. Are there any parallels or contrasts suggested between characters? between events? between intentions and actual outcomes?

4. What kinds of language are in the scene? How do characters differ in their language? What shifts occur within one character? within one speech?

5. How are the setting and props important to this scene?

II. 1. What is the relationship between this play and ritual or ceremony? Are there rituals in the play? Is the play itself a ritual act?

2. The term "play" suggests a contrast with work and thus emphasizes the play as entertainment. Is this play play? Is it work? Is it about the contrast between the two?

3. Hamlet says that drama holds the mirror up to nature. Does this play do so? What kind of mirror? What does it show? distort? Why?

4. Genres are important parts of drama because they create a set of expectations and conventions. If a play is tragic, it is likely to be concerned with the heroic and to use tragic irony, in which characters' actions have results very different from their intentions. Comedies usually emphasize entertainment, but they can also be serious. They often focus on characters as types, that is, socially defined roles. What genre is this play most closely related to? What are the effects of its conventionality and its breaks with convention?

5. How is the world of this play constructed? What are its main qualities? Which characters seem most/least attuned to it?

6. How are the characters constructed? What implications does that have for what it means to be human? for being a part of the society portrayed? In this play do characters change?

7. What is the role of symbolism in the play (if any)? How does the play give imaginative power to its symbols?

8. A play is normally written for a specific kind of theater, using certain theatrical conventions. How do such elements affect this play?

9. Plays are shaped to evoke some kind of audience response, for example, varying degrees of detachment toward or involvement with individual characters. By what means is that done in this play, and with what effect?