Modern and Contemporary Drama

posted in

Fall semester

Elective

Modern and Contemporary Drama is a course that examines the development of Western dramatic conventions over the past 150 years. Students will track how playwrights have drawn upon and departed from prior works of drama, and will see how forces such as cultural and political context shaped the theatrical works of those playwrights. In addition to discussing and writing about the works under consideration, students will be expected to take part in performances and creative imitations, discovering how drama needs to be considered on its feet, rather than just from the classroom desk. Authors may include Chekhov, Strindberg, Ibsen, Brecht, Pinter, Shaw, Beckett, Parks, Smith, Wilson, and Kushner.

Units

Unit	Essential Questions	Content	Skills and Processes	Assessment
Modern and Contemporary Drama	How can we best define the idea of a Modern dramatic tradition? Where might the roots lie? In what ways have these roots been developed, modified, or usurped by later playwrights? In what ways do the texts reflect the historical and cultural contexts in which they are constructed?	Anton Chekhov's Uncle Vanya, The Three Sisters, The Cherry Orchard, The Seagull August Strindberg's Miss Julie Henrik Ibsen's Hedda Gabler and A Doll's House Bertolt Brecht's Mother Courage and her Children George Bernard Shaw's Arms and the Man Samuel Beckett's Waiting for Godot and Endgame Harold Pinter's Betrayal Tennessee William's Night of the Iguana Suzan Lori-Parks' Topdog/Underdog Anna Deveare Smith's Twilight, Los Angeles: 1992 Handouts and selected texts	Prepare and present class meetings, both in collaborative groups and as individuals. Apply principles of peer reviewing and metacritical self-review for both content and style Develop critical abilities as readers and patrons of drama Acquire the vocabulary and skills required for literate discussion of drama Active reading Improve skills as writers of critical prose about drama Class note-taking Fine tune guidelines for collaboration in written work and class participation Memorizing text Acting and directing Set and scene design	2 analytical essays, assessed for content and style in individual conference 2 performances, evaluated for memorization, commitment to the style of play at hand, ambition of production, engagement with the material, and cooperation with scene partners Tests emphasize reading comprehension and synthesis Peer reviews Metacritical writing Discussions about critical analysis and persuasive writing Presentations are evaluated for persuasiveness, novelty, unity, ability to involve the entire group, and effectiveness in achieving the student-instructor’s stated goals

Unit

Essential Questions

Content

Skills and Processes

Assessment

Modern and Contemporary Drama

How can we best define the idea of a Modern dramatic tradition?
Where might the roots lie?
In what ways have these roots been developed, modified, or usurped by later playwrights?
In what ways do the texts reflect the historical and cultural contexts in which they are constructed?

Anton Chekhov's Uncle Vanya, The Three Sisters, The Cherry Orchard, The Seagull
August Strindberg's Miss Julie
Henrik Ibsen's Hedda Gabler and A Doll's House
Bertolt Brecht's Mother Courage and her Children
George Bernard Shaw's Arms and the Man
Samuel Beckett's Waiting for Godot and Endgame
Harold Pinter's Betrayal
Tennessee William's Night of the Iguana
Suzan Lori-Parks' Topdog/Underdog
Anna Deveare Smith's Twilight, Los Angeles: 1992
Handouts and selected texts

Prepare and present class meetings, both in collaborative groups and as individuals.
Apply principles of peer reviewing and metacritical self-review for both content and style
Develop critical abilities as readers and patrons of drama
Acquire the vocabulary and skills required for literate discussion of drama
Active reading
Improve skills as writers of critical prose about drama
Class note-taking
Fine tune guidelines for collaboration in written work and class participation
Memorizing text
Acting and directing
Set and scene design

2 analytical essays, assessed for content and style in individual conference
2 performances, evaluated for memorization, commitment to the style of play at hand, ambition of production, engagement with the material, and cooperation with scene partners
Tests emphasize reading comprehension and synthesis
Peer reviews
Metacritical writing
Discussions about critical analysis and persuasive writing
Presentations are evaluated for persuasiveness, novelty, unity, ability to involve the entire group, and effectiveness in achieving the student-instructor’s stated goals

Catlin Gabel

Modern and Contemporary Drama

Units