Phyllis Gorfain

Fall 1998

Required books

Imiri Baraka, Dutchman

Lorraine Hansberry, Raisin in the Sun

David Mamet, Glengarry Glen Ross

David Mamet, Oleanna

Arthur Miller, Death of a Salesman

Arthur Miller, The Crucible

Phyllis Nagy, Weldon Rising

Diane Samuels, Kindertransport.

William Shakespeare. Richard III

Diana Hacker, Bedford Handbook

Recommended Book

Joseph Gibaldi. MLA Handbook for Writers of Research Papers, Fourth Edition. New York: MLA, 1995.

Meeting Place and Time

King 335, Tu-Th 11:00 AM -12:15 PM

Instructor's Office and Office Hours

Rice 107	Mon 4:45-6:00 PM
	Tu-Th 3:00-4:30 PM

Sign up on door

Course Objectives

1. To read, study, discuss, and appreciate a range of scripts with an emphasis on plays in production; where live productions not available easily, we will use plays for which we can see good movies and which may form some dialogue among themselves with regard to issues, ideas, different styles, periods.
2. To consider the theoretical and practical differences between scripts and plays, scripts and other genres of literature.
3. To gain fluency in reading scripts to contribute to one's competence and enjoyment in attending plays; to contribute to one's competence in understanding the key differences in various literary genres and media.
4. To develop skills in writing about drama with attention to issues of performance.

Course Requirements

Attendance and participation (no certain per cent of grade, but this factor can raise or lower your final grade)

Attendance is required and more than three absences will result in a lowered grade. With each three absences the grade will be lowered 1/3 (e.g. from a B to a B-, then to C+, then to C) without ANY contingencies considered, other than medical illness and a doctor's report. Strength (cogency, helpfulness to others; thoughtfulness; creativity; thorough preparation) will raise your final grade and weakness (poor preparation; wasting class time; habitual reticence) will lower your grade. See the instructor to discuss ways to address hesitation to participate in class discussion if you are finding yourself reticent.

In-class scenes and scene journal 30% (each scene performance and journal 15%; the scene will be graded about half and the scene journal about half).

Each student will perform in two scenes, one each half of the semester. The scenes will be fully memorized, and involve costumes, props, a set, and other production needs. The scene journal will be due at the class following the scene performance.

The journal will be about 10 pages long and include a log of activities, actually written after each rehearsal, and a long commentary containing the following elements:

a. A character study -- as much as you can possibly glean from the entire script about your character; what the others say about the character; gender, sexuality, age, ethnicity, color, class, status, experiences, education, occupation, views, personality, etc. Consider ways to develop your character: what do they wear most of the time; how do they move, sit, smoke, use their voice, etc. Write out some comments on your character's style and habits. What do they eat for breakfast; what time do they tend to go to sleep, what music do they listen to when alone, how do they sit in a chair, how do they enter a room of strangers, etc.

b. Scene analysis -- what are the given circumstances in your scene, what conditions obtain for the characters (what has happened and what is the situation); what problems face the characters. In your scene, what are each character's objectives and how are the character's objectives pursued, frustrated, redefined, re-pursued through the course of the scene. Where are the conflicts and accords, discoveries and changes? What does this scene accomplish for the play, in terms of plot, character, situation, and theme?

c. Finding signals for performance choices: where are the major scripted signals you must observe? What kinds of signals demand definite, specific choices? What signals indicate an optional choice must be made but do not show exactly how to make the choice? What other signals do you find for choices you need to make about costume, props, blocking, line readings, characterization? Costume, style of movement, posture? What choices do you make that can be supported by the script although the script does not indicate such choices? Are you making choices for your scene that work there but would not work if the scene were performed with the rest of the play? What is your justification for doing that?

Four papers 60% (each paper 15%)

a. The four papers may be on any of the plays specified for that unit.

b. Each paper will be preceded by a draft, due a few days before the paper is due. You will have conferences with either the writing consultant or the instructor all of your four drafts (turn in the draft with your paper and the draft should have on it the initials of the person who went over the draft with you). Early in the semester, workshops will be held to address special issues in writing papers on drama.

c. All papers must conform to the rules for format and documentation as laid out in the MLA Handbook.

d. Many comments and corrections will use the abbreviations and refer students to relevant passages in the Heath Handbook. Be sure to buy and use these optional books. If you have any problems with either format or rules of grammar and punctuation learn the rules and do not repeat errors. Your grade will be lowered for repeated mistakes.

Notes for class discussions, 10%

For nearly every class, you will be asked to have notes prepared for discussions. These will be handed in from time to time, and there will be interim evaluative numbers (1-3) when they are handed in. 1= poor; 2= okay; 3=very good. When your notes are returned to you, keep them together in a packet and hand them in at the end of the semester as a group. The entire packet will be graded with an eye to: completeness (how many were done), timeliness (on time), quality and consistency of work.

Date	Topic	Assignment	Comment	Drafts or Papers Due
Th 9/3	Introduction to the Course	none
Tu 9/8	Death of a Salesman	Read entire script before class.	Be ready to discuss how this play is and is not realistic.
Th 9/10	Death of a Salesman	Read essay in reader.	Be ready to discuss three moments when key performance choices (in a line readings, blocking, lighting; not in a large matter such as setting or concept) can be made and would change greatly the effects, meanings, mood, or significance of the play as a whole. Bring notes to class that clearly refer to the places in the script you have chosen. Describe two possibly different choices, explain how each would result in different effects, and note what else might have to be chosen in other respects to go with this choice.
Sun 9/13	Death of a Salesman video	Attend showing in Mudd 050, 2 p.m.	Videoplay by A. Miller, starring Dustin Hoffman. Make notes on two performance choices you think were fascinating, critical, defining, surprising, impressive, irritating, misguided, anything that will provoke a substantive discussion into the ways specific choices achieve the vision, interpretative methods, and goals of this production.
Tu 9/15	Death of a Salesman scenes	Review the scenes to be performed and bring notes on video.	We will discuss the video and the scenes. Come with your notes on the video. Also bring your suggestions about particular moments where performance choices in these scenes could make a critical difference in the play as a whole. In class, discuss choices made by performers and suggest exploration of alternate or intensified choices by performers.
Th 9/17	Reference Librarian	Learning how to do research into performance issues.	Required session with reference librarian. Bring your questions about how to do research for papers, assignments.	Due date for paying for ticket and van fare to see Richard III.
Tu 9/22	The Crucible	Read entire script before class.	Be ready to discuss how this play raises questions of history: how our own time relates to the past, how the past is unique, how the past speaks to other times, if not our own.
Wed 9/23	The Crucible video	Attend showing in Mudd 050, 2 p.m.	Screenplay by A. Miller, starring Daniel Day Lewis, Winona Ryder. Same assignment as 9/13.
Th 9/24	The Crucible	Read essays in reader.	Same assignment as 9/10.
Sun 9/27	Writing Workshops	Bring questions and concerns about how to write papers about drama in this course.	Optional but recommended attendance to begin work on first required essay for the course.
Tu 9/29	The Crucible scenes	Review scenes assigned.	We will discuss the scenes. Bring your suggestions about particular moments where performance choices in these scenes could make a critical difference in the play as a whole. In class, discuss choices made by performers and suggest exploration of alternate or intensified choices by performers.
Th 10/1	Dutchman	Read entire script before class.	Be ready to discuss the various ways this play provides new issues in performance and raises new questions about the functions of theatre in American life.	COMPLETED DRAFT DUE FOR PAPER ONE DUE BY 6 PM. Paper One may be on Death of a Salesman or The Crucible
Sun 10/4	Dutchman video	Attend showing in Mudd 050, 2 p.m.	Starring Shirley Knight, same assignment as 9/13.
Tu 10/6	Dutchman scenes	Review scenes assigned.	We will discuss the video and the scenes. Same assignment as 9/15.	PAPER ONE DUE BY 6 PM.
Th 10/8	Kindertransport	Read entire script before class.	Same assignment as 9/10.
Week-end 10/9-10/11	Kindertransport performances	Attend at least one performance.	Directed by Jane Armitage in Hall Auditorium. Same assignment as 9/13.
Tu 10/13	Kindertransport	Discuss play in performance.	Address especially issues of live performance compared with film performance: bring your notes on performance choices.
Th 10/15	Kindertransport scenes	Review scenes assigned.	Same assignment as 9/29.
Mon 10/26				COMPLETED DRAFT DUE FOR PAPER TWO DUE BY 6 PM. Paper Two may be on Dutchman or Kindertransport.
Tu 10/27	Richard III	Read at least Acts 1-2 before class.	Bring any questions you have for clarification or to stimulate discussion.
Wed 10/28	Richard III video	Attend showing in Mudd 050, 7 p.m	Starring Ian Mackellan. Same assignment as 9/13.
Th 10/29	Richard III	Read at least Acts 3-5 before class.	Same assignment as 9/10.
Sun 11/1	Richard III performance	Attend performance in Cleveland at Ohio Theatre, Great Lakes Theatre Festival.	Buy $15 ticket for play and share in van rental at English department office, Rice 130 by Sept. 17. Same assignment as 9/13.
Mon 11/2				PAPER TWO DUE BY 6 PM.
Tu 11/3	Richard III	Discuss play in performance.	We will discuss the scenes. Bring your notes on the show.
Th 11/5	Weldon Rising	Read entire script before class.
Week-end 11/5-11/8	Weldon Rising performances	Attend at least one performance.	Directed by Sarah Rooney in Little Theatre. Same assignment as 9/13.
Tu 11/10	Weldon Rising	Discuss play in performance.	We will discuss the scenes. Bring your notes on the show.
Fri 11/13				COMPLETED DRAFT DUE FOR PAPER THREE DUE BY 6 PM. Paper Three may be on Richard III or Weldon Rising.
Th 11/12	Richard III scenes	Review assigned scenes.	Same assignment as 9/29.
Tu 11/17	Raisin in the Sun	Read entire script before class.	Same assignment as 9/10.
Th 11/19	Raisin in the Sun	Read essays in reader.	Be ready to discuss how this play takes a particular stance on issues we have seen before concerning The American Dream, persecution and prejudice, coming of age in America, etc. Think about The Crucible, Weldon Rising, and Dutchman. How does this play explore the African-American experience in particular? How does it participate in the traditions of other postwar American plays? Where does it assert and explore new territory?	PAPER THREE DUE BY 6 PM.
Sun 11/22	Raisin in the Sun video	Attend showing in Mudd 050, 2 p.m.	Starring Sidney Poitier, Ruby Dee; same assignment as 9/13.
Tu 11/24	Raisin in the Sun scenes	Review scenes assigned.	We will discuss the video and the scenes. Same assignment as 9/15.
Th 11/26	Thanksgiving: no class
Tu 12/1	Glengarry Glen Ross	Read entire script before class.	Same assignment as 9/10.
Wed 12/2	Glengarry Glen Ross video	Attend showing in Mudd 050, 7 p.m.	Starring Joe Mantegna and Jack Lemmon. Same assignment as 9/13.
Th 12/3	Glengarry Glen Ross	Read essays in reader.	Be ready to discuss how this play re-examines the theme of the problematic American Dream, or how it compares in topics, performance style, theatrical explorations with Death of Salesman, Raisin in the Sun, Weldon Rising.
Tu 12/8	Oleanna	Read entire script before class.	Same assignment as 9/10.
Wed 12/9	Oleanna video	Attend showing in Mudd 050, 7 p.m.	Screenplay and directed by David Mamet and starring William Macy. Same assignment as 9/13.
Th 12/10	Oleanna scenes	Review scenes assigned.	We will discuss the video and the scenes. Same assignment as 9/15.
Fri 12/11				COMPLETED DRAFT DUE FOR PAPER FOUR DUE BY 6 PM. Paper Four may be on Raisin in the Sun, Glengarry Glen Ross, or Oleanna.
Tues 12/15				PAPER FOUR DUE BY 6 PM.
Fri 12/18	Final Exam, section 01: oral exams in groups of four. Depending on your exams, you will meet at 9-11, 1-3, 4-6, and 7:30-9:30 at instructor's home.	Review of the semester.	Five possible questions will be distributed in advance. You will be asked to discuss two out of five questions and to pose a third you would like to discuss. You will turn in your notes made in preparation for the oral exam. Your discussion at one point or another should demonstrate close attention to at least five of the nine plays during the semester. Course evaluations will be due at the time of the oral exam and failure to turn in a completed evaluation will result in a lower grade.
Sat 12/19	Final Exam, section 02: see 12/18. Same as for section 01 above.	Review of the semester.	Same as for section 01 above.